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 Namibia and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Delhi 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Gerry Rafferty to the grunge kids.
I played it at CBGB's.
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 Barclay James Harvest. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Derrick Morgan,
Stereo Dub,
Scan 7,
H. Thieme,
The Associates,
Ultimate Spinach,
The Black Dice,
Babytalk,
Joyce Sims,
Lakeside,
Boogie Down Productions,
The Tremeloes,
Roy Ayers,
The Leaves,
Röyhkä ja Rättö ja Lehtisalo,
Eyeless In Gaza,
Kaleidoscope,
The Monochrome Set,
Kauko Röyhkä ja Narttu,
Animal Collective,
Kurtis Blow,
ABC,
Stockholm Monsters,
Yusef Lateef,
Gerry Rafferty,
David McCallum,
the Bar-Kays,
Nick Cave & The Bad Seeds,
The Busters,
A Flock of Seagulls,
The Alarm Clocks,
Fat Boys,
the Normal,
Rites of Spring,
Gil Scott Heron,
Quadrant,
Smog,
Spoonie Gee,
Sarah Menescal,
The Smiths,
Junior Murvin,
La Düsseldorf,
Sonny Sharrock,
Joy Division,
Tom Boy,
The New Christs,
Matthew Halsall,
The Sisters of Mercy,
Leonard Cohen,
The Smoke,
Whodini,
The Knickerbockers,
The Gories,
the Fania All-Stars,
Marc Almond,
The Gladiators,
Manfred Mann's Earth Band,
Henry Cow,
Essential Logic,
the Swans,
The Birthday Party,
The Evens,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.