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 Honduras and from Paris.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Milan and Bremen.
I'm losing my edge to the art-school Portland 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 1973 at the first Television practice in a loft in New York.
I was working on the sitar 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 Niagra to the grime kids.
I played it at the Crocodile.
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 Sister Nancy. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Sister Nancy,
Aaron Thompson,
Harry Pussy,
Kango’s Stein Massive,
Newcleus,
Marmalade,
The Alarm Clocks,
Marc Almond,
Ultravox,
The Associates,
Dennis Brown,
Maurizio,
Bobbi Humphrey,
Oblivians,
Easy Going,
Young Marble Giants,
Porter Ricks,
Robert Hood,
Pantytec,
Television Personalities,
Gichy Dan,
Mad Mike,
The Velvet Underground,
Sarah Menescal,
Unwound,
Lee Hazlewood,
The Angels of Light,
Kool G Rap & DJ Polo,
DJ Sneak,
Audionom,
Half Japanese,
Intrusion,
Mandrill,
The Slackers,
Sad Lovers and Giants,
Gang of Four,
June of 44,
Section 25,
The Gladiators,
Matthew Halsall,
New York Dolls,
Urselle,
Kerri Chandler,
The Knickerbockers,
Terry Callier,
Magma,
Mission of Burma,
Neu!,
Rod Modell,
Faraquet,
The Doors,
FM Einheit,
John Lydon,
Super Lover Cee & Casanova Rud,
Index,
The Chocolate Watch Band,
Dual Sessions,
Camouflage,
L. Decosne,
Robert Wyatt,
The United States of America,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.