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 Madagascar and from Tokyo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1970.
I'm losing my edge.
To all the kids in New York and Jakarta.
I'm losing my edge to the art-school Halifax 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Glenn Branca to the disco kids.
I played it at the 40 Watt.
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 Mandrill. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Manfred Mann's Earth Band record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Fear,
The Invisible,
Scan 7,
Drexciya,
Bang On A Can,
Siouxsie and the Banshees,
Andrew Hill,
Fad Gadget,
Ohio Players,
Neil Young & Crazy Horse,
Yellowson,
Chrome,
The Busters,
Minny Pops,
Bobby Womack,
Tropical Tobacco,
Second Layer,
The Detroit Cobras,
Big Daddy Kane,
H. Thieme,
Sam Rivers,
Pierre Henry,
The Move,
Matthew Bourne,
X-102,
The Peanut Butter Conspiracy,
The Cure,
Sight & Sound,
Television,
Robert Wyatt,
Moby Grape,
Johnny Clarke,
Lucky Dragons,
Reagan Youth,
Babytalk,
the Fania All-Stars,
Orchestral Manoeuvres in the Dark,
the Germs,
Model 500,
Amon Düül II,
Avey Tare's Slasher Flicks,
The Trojans,
Panda Bear,
Rotary Connection,
Marcia Griffiths,
The Alarm Clocks,
Art Ensemble Of Chicago,
The Wake,
Peter & Gordon,
Slick Rick,
Motorama,
Aaron Thompson,
Tears for Fears,
Crash Course in Science,
Sun Ra,
Pete Rock & C.L. Smooth,
Y Pants,
Duran Duran,
the Swans,
The Misunderstood,
Eve St. Jones,
Metal Thangz,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.