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 Lithuania and from London.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Manila and Shanghai.
I'm losing my edge to the art-school Woodstock 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 The Last Poets to the techno kids.
I played it at the Spitz.
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 Vogues. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Connie Case,
cv313,
Vaughan Mason & Crew,
Camouflage,
Heavy D & The Boyz,
Main Source,
Ralphi Rosario,
The Techniques,
Flamin' Groovies,
Country Joe & The Fish,
Roy Ayers,
The Durutti Column,
Michelle Simonal,
Grey Daturas,
Saccharine Trust,
Roxy Music,
Bang On A Can,
Lalo Schifrin,
X-Ray Spex,
Godley & Creme,
Marc Almond,
The Selecter,
Crispy Ambulance,
Janne Schatter,
Excepter,
Drexciya,
E-Dancer,
Stereo Dub,
Ponytail,
Rites of Spring,
The Vogues,
Panda Bear,
The Birthday Party,
Man Parrish,
Jerry Gold Smith,
Banda Bassotti,
Bobby Byrd,
Fluxion,
Symarip,
The Associates,
Pylon,
Pantaleimon,
Lou Reed & John Cale,
Kaleidoscope,
Kool G Rap & DJ Polo,
Nick Fraelich,
Marmalade,
Yazoo,
Amazonics,
John Lydon,
Jeff Mills,
Glambeats Corp.,
Cameo,
Brothers Johnson,
Bauhaus,
The Black Dice,
Wire,
Peter and Kerry,
Duran Duran,
Deutsch Amerikanische Freundschaft,
the Germs,
Fatback Band, Fatback Band, Fatback Band, Fatback 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.