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 Cambodia and from Tokyo.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Paris and Shanghai.
I'm losing my edge to the art-school Manila 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 spring reverb 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 Rhythm & Sound 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 Wire. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Don Cherry 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 '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Rod Modell,
Fifty Foot Hose,
Ituana,
Mandrill,
Sex Pistols,
Maurizio,
Hasil Adkins,
the Sonics,
Avey Tare & Kría Brekkan,
Bootsy's Rubber Band,
Schoolly D,
Grandmaster Flash,
Lungfish,
Jeff Mills,
Henry Cow,
Blossom Toes,
Cal Tjader,
Matthew Halsall,
Rhythm & Sound,
Quantec,
Jesper Dahlbäck,
F. McDonald,
Brick,
Todd Rundgren,
Harpers Bizarre,
DJ Sneak,
Radio Birdman,
Eve St. Jones,
Young Marble Giants,
Soulsonic Force,
L. Decosne,
K-Klass,
Stereo Dub,
Gil Scott Heron,
Letta Mbulu,
Susan Cadogan,
the Swans,
Cameo,
48th St. Collective,
The Cramps,
Model 500,
Piero Umiliani,
Lalann,
Massinfluence,
KRS-One,
The Smoke,
Tom Boy,
Sun Ra,
Crime,
Monks,
The Music Machine,
The Fortunes,
Index,
Ash Ra Tempel,
Half Japanese,
Slick Rick,
Kenny Larkin,
Animal Collective,
Marc Almond,
Bang on a Can All-Stars,
China Crisis,
Johnny Osbourne,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.