Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Belize and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1976.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Lyon kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Wire practice in a loft in Watford.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Fire Engines to the disco kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Cymande. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Blake Baxter,
Ultra Naté,
Moss Icon,
Justin Hinds & The Dominoes,
Gil Scott Heron,
Erasure,
Television Personalities,
Joe Finger,
PIL,
Excepter,
Flipper,
Oblivians,
Barclay James Harvest,
T.S.O.L.,
Lucky Dragons,
The Mummies,
Camberwell Now,
Jacob Miller,
The Gap Band,
DNA,
Gian Franco Pienzio,
The West Coast Pop Art Experimental Band,
The Tremeloes,
The Evens,
Monks,
Aaron Thompson,
Patti Smith,
Yellowson,
Cybotron,
Animal Collective,
New York Dolls,
U.S. Maple,
Dawn Penn,
Art Ensemble Of Chicago,
Roger Hodgson,
The Vogues,
Kool G Rap & DJ Polo,
Jandek,
E-Dancer,
The Slits,
Unwound,
Hasil Adkins,
Magma,
Rod Modell,
Theoretical Girls,
Suburban Knight,
The Monks,
the Soft Cell,
Nico,
Ultramagnetic MC's,
Sun Ra Arkestra,
Major Organ And The Adding Machine,
K-Klass,
Icehouse,
Todd Terry,
The Blackbyrds,
Niagra,
John Coltrane,
The Black Dice,
Amon Düül,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.