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 Sudan and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Calgary.
I'm losing my edge to the art-school Milan 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 güiro 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 It's A Beautiful Day to the rock 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 Selector Dub Narcotic. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Babytalk,
Terry Callier,
Nas,
Eli Mardock,
Kerrie Biddell,
B.T. Express,
Red Lorry Yellow Lorry,
Rufus Thomas,
Tears for Fears,
Andrew Hill,
Visage,
Motorama,
Lizzy Mercier Descloux,
A Certain Ratio,
Arab on Radar,
Bob Dylan,
Ponytail,
One Last Wish,
Graham Central Station,
Sexual Harrassment,
Absolute Body Control,
John Cale,
The Victims,
Don Cherry,
Maleditus Sound,
The Trojans,
Wire,
Ultimate Spinach,
Josef K,
Kurtis Blow,
Lucky Dragons,
Bobby Sherman,
Sunsets and Hearts,
Major Organ And The Adding Machine,
Traffic Nightmare,
Pussy Galore,
Fort Wilson Riot,
Gerry Rafferty,
Roy Ayers,
Q and Not U,
Gian Franco Pienzio,
Soul II Soul,
Funkadelic,
The Smiths,
Liaisons Dangereuses,
E-Dancer,
Basic Channel,
Dual Sessions,
Junior Murvin,
In Retrospect,
Cymande,
Ken Boothe,
Agent Orange,
Average White Band,
Larry & the Blue Notes,
Eyeless In Gaza,
Lalo Schifrin,
Tom Boy,
Erasure,
Slick Rick,
Outsiders,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.