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 Luxembourg and from Jakarta.
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 1971.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Madrid 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 Feelies practice in a loft in Haledon.
I was working on the güiro 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 Jacob Miller to the grime kids.
I played it at the Astoria.
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 Oblivians. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Electric Light Orchestra,
Aswad,
Sun Ra Arkestra,
David Bowie,
Fatback Band,
The Gap Band,
New York Dolls,
Bang On A Can,
Second Layer,
Hardrive,
Barbara Tucker,
The Shadows of Knight,
Marvin Gaye,
Cheater Slicks,
Gerry Rafferty,
Absolute Body Control,
Bobby Womack,
Aaron Thompson,
Scrapy,
Vaughan Mason & Crew,
Super Lover Cee & Casanova Rud,
the Slits,
Blake Baxter,
Japan,
James Chance & The Contortions,
Scan 7,
The Moleskins,
Rakim,
R.M.O.,
Oneida,
Deakin,
Trumans Water,
Mars,
8 Eyed Spy,
Curtis Mayfield,
Ralphi Rosario,
Jerry's Kids,
Kings Of Tomorrow,
Clear Light,
Derrick Morgan,
Barry Ungar,
Sunsets and Hearts,
Grey Daturas,
The Searchers,
The Gladiators,
Dead Boys,
The Doobie Brothers,
Severed Heads,
Cybotron,
Shuggie Otis,
Malaria!,
Can,
Gichy Dan,
The Human League,
Pulsallama,
The United States of America,
Rufus Thomas,
Louis and Bebe Barron,
Bad Manners,
Amon Düül II,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.