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 Nicaragua and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1978.
I'm losing my edge.
To all the kids in Delhi and Winnipeg.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Clear Light to the punk 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 Scan 7. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Chrome,
Moby Grape,
Peter and Kerry,
Kango’s Stein Massive,
Ultimate Spinach,
David Bowie,
The Toasters,
Crispian St. Peters,
Lindisfarne,
June Days,
Q65,
Jeru the Damaja,
X-102,
Chris & Cosey,
Grandmaster Flash and the Furious Five,
Matthew Halsall,
Gary Puckett & The Union Gap,
Terrestrial Tones,
D'Angelo,
Vainqueur,
Neil Young & Crazy Horse,
Röyhkä ja Rättö ja Lehtisalo,
The Grass Roots,
Kings Of Tomorrow,
Avey Tare,
Teenage Jesus and the Jerks,
Sparks,
Pussy Galore,
Delta 5,
Swell Maps,
Ronnie Foster,
John Lydon,
Stetsasonic,
Jeff Mills,
ABBA,
Sad Lovers and Giants,
Au Pairs,
Pole,
The Index,
Deakin,
DeepChord presents Echospace,
Bauhaus,
Selector Dub Narcotic,
Joe Finger,
Tim Buckley,
The Cure,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sun City Girls,
Thee Headcoats,
Avey Tare & Kría Brekkan,
The J.B.'s,
Masters at Work,
Cameo,
Lyres,
Avey Tare's Slasher Flicks,
The Invisible,
Boredoms,
Mo-Dettes,
Lakeside,
The Offenders,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.