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 Mozambique and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Portland and Taipei.
I'm losing my edge to the art-school Spokane 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 Wire practice in a loft in Watford.
I was working on the arpeggiator 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 Man Eating Sloth to the dance kids.
I played it at the 40 Watt.
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 The Raincoats. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every The Barracudas 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Cecil Taylor,
Roxette,
Robert Wyatt,
Masters at Work,
Buzzcocks,
T. Rex,
Fort Wilson Riot,
The Selecter,
Saccharine Trust,
Jesper Dahlback,
Bill Wells,
The Sound,
Aswad,
The New Christs,
Selector Dub Narcotic,
Roy Ayers,
Ponytail,
The Slits,
Duran Duran,
The Velvet Underground,
Crash Course in Science,
Section 25,
Faust,
Eyeless In Gaza,
The Smoke,
Suburban Knight,
Motorama,
Ohio Players,
Electric Prunes,
The Alarm Clocks,
Accadde A,
The Dave Clark Five,
The Happenings,
Cymande,
Marshall Jefferson,
Anthony Braxton,
New Order,
Pole,
Terrestrial Tones,
Joensuu 1685,
Fela Kuti,
A Certain Ratio,
Art Ensemble Of Chicago,
Isaac Hayes,
Josef K,
Mandrill,
DNA,
The Moleskins,
Albert Ayler,
Lafayette Afro Rock Band,
Gil Scott-Heron & Brian Jackson,
Johnny Clarke,
The Associates,
Procol Harum,
Super Lover Cee & Casanova Rud,
AZ,
The Cure,
Teenage Jesus and the Jerks,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Average White Band, Average White Band, Average White Band, Average White Band.
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.