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 Latvia and from Portland.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1975.
I'm losing my edge.
To all the kids in Winnipeg and Columbus.
I'm losing my edge to the art-school Glasgow 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 chamberlin 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 Bobbi Humphrey to the techno kids.
I played it at Cafe Wha.
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 Flesh Eaters. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Intrusion record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
CMW,
DJ Sneak,
Judy Mowatt,
Ornette Coleman,
Mars,
Gil Scott-Heron & Brian Jackson,
Roxette,
Simply Red,
Ponytail,
Scan 7,
Little Man,
Au Pairs,
Magma,
The Move,
Richard Hell and the Voidoids,
Clear Light,
Procol Harum,
Notorious BIG live in Amsterdam,
John Cale,
Sun City Girls,
Black Bananas,
Tommy Roe,
Oneida,
The Star Department,
Sandy B,
Funky Four + One,
David Axelrod,
Peter Gordon & Love of Life Orchestra,
Talk Talk,
John Coltrane,
Minny Pops,
Black Pus,
T.S.O.L.,
Piero Umiliani,
Ken Boothe,
Mandrill,
Oppenheimer Analysis,
EPMD,
Johnny Osbourne,
Lou Reed & John Cale,
Gang Green,
Radio Birdman,
The Flesh Eaters,
Wighnomy Brothers & Robag Wruhme,
Icehouse,
Jesper Dahlbäck,
Neil Young & Crazy Horse,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Wings,
Terror Squad Feat. Camron,
Dawn Penn,
Franke,
Harpers Bizarre,
Oblivians,
Yazoo,
These Immortal Souls,
Cymande,
Khruangbin,
Cluster, Cluster, Cluster, Cluster.
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.