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 Botswana and from Winnipeg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1978.
I'm losing my edge.
To all the kids in Bologna and Cairo.
I'm losing my edge to the art-school Paris 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 sitar 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 Slave to the disco kids.
I played it at the Roxy.
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 Joe Smooth. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Lou Reed 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 '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Sugar Minott,
Rufus Thomas,
Rahsaan Roland Kirk,
Nick Cave & The Bad Seeds,
London Community Gospel Choir,
Boz Scaggs,
Albert Ayler,
Hashim,
Louis and Bebe Barron,
X-101,
The Zeros,
Absolute Body Control,
Bang on a Can All-Stars,
Delta 5,
Tres Demented,
John Coltrane,
Fatback Band,
Davy DMX,
The Residents,
Motorama,
8 Eyed Spy,
The Neon Judgement,
Camberwell Now,
Sixth Finger,
Rod Modell,
Goldenarms,
Deutsch Amerikanische Freundschaft,
Sad Lovers and Giants,
Drexciya,
Soft Cell,
Mark Hollis,
Dead Boys,
Marc Almond,
Lindisfarne,
The Star Department,
David Bowie,
Theoretical Girls,
Boredoms,
Hoover,
Godley & Creme,
Camouflage,
CMW,
Intrusion,
The Stooges,
Dorothy Ashby,
Electric Light Orchestra,
The Victims,
The Slackers,
Metal Thangz,
OOIOO,
Jacob Miller,
Index,
Kurtis Blow,
New Age Steppers,
Lungfish,
Jacques Brel,
Red Lorry Yellow Lorry,
Notorious Big And Bone Thugs,
Danielle Patucci,
Eric B and Rakim,
Ultravox, Ultravox, Ultravox, Ultravox.
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.