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 Somalia and from Houston.
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 1960 to 1974.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Manchester 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 Chic practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 London Community Gospel Choir to the techno 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 Spandau Ballet. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal grime 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Supertramp,
Qualms,
Lucky Dragons,
Rod Modell,
Oblivians,
Iggy Pop,
Pierre Henry,
Pet Shop Boys,
Minutemen,
Flamin' Groovies,
Jeru the Damaja,
Delon & Dalcan,
The Residents,
The Moody Blues,
Dead Boys,
F. McDonald,
Mr. Review,
Jerry Gold Smith,
X-Ray Spex,
The New Christs,
Don Cherry,
Susan Cadogan,
T. Rex,
Bush Tetras,
Excepter,
Bad Manners,
Stetsasonic,
EPMD,
David Axelrod,
Liliput,
Henry Cow,
Larry & the Blue Notes,
Gian Franco Pienzio,
Sixth Finger,
Whodini,
a-ha,
Lalann,
Alphaville,
Wally Richardson,
World's Most,
The Smoke,
The Detroit Cobras,
The Shadows of Knight,
Soft Machine,
the Normal,
Chris Corsano,
Throbbing Gristle,
Arcadia,
Notorious BIG live in Amsterdam,
Anthony Braxton,
Icehouse,
Simply Red,
Duran Duran,
The Kinks,
Negative Approach,
Tres Demented,
Pulsallama,
Audionom,
The Offenders,
Gerry Rafferty,
Swans, Swans, Swans, Swans.
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.