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 Benin and from Woodstock.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Edmonton and Tokyo.
I'm losing my edge to the art-school Houston 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 rhodes 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 A Certain Ratio to the crunk 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 Man Parrish. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Marine Girls 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 '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Interpol,
James White and The Blacks,
Blake Baxter,
Gerry Rafferty,
Rhythm & Sound,
Black Pus,
Masters at Work,
U.S. Maple,
It's A Beautiful Day,
Joey Negro,
Glenn Branca,
Avey Tare,
Scratch Acid,
Fatback Band,
Rosa Yemen,
DJ Style,
The Victims,
Kas Product,
Gong,
Von Mondo,
Das Ding,
Sugar Minott,
The Velvet Underground,
Yazoo,
Delta 5,
Bill Near,
Spoonie Gee,
The Fire Engines,
The Leaves,
Suicide,
The Human League,
Louis and Bebe Barron,
David McCallum,
The Names,
Sunsets and Hearts,
Spandau Ballet,
John Lydon,
The Five Americans,
John Cale,
Procol Harum,
Oneida,
Brass Construction,
Terrestrial Tones,
Terry Callier,
Intrusion,
Gang of Four,
X-102,
Brand Nubian,
Little Man,
Organ,
The Kinks,
Basic Channel,
Derrick Morgan,
Visionaries,LMNO, T- Love & Iriscience,
Kauko Röyhkä ja Narttu,
Carl Craig,
Sex Pistols,
Lalann,
Iggy Pop,
This Heat,
Bobby Byrd,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.