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 Sierra Leone and from Mumbai.
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 1973.
I'm losing my edge.
To all the kids in Salvador and New York.
I'm losing my edge to the art-school New York 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 Feelies practice in a loft in Haledon.
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 Boredoms to the dance kids.
I played it at the Troubador.
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 Crime. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Parry Music,
The Slackers,
Sound Behaviour,
David McCallum,
Flipper,
Bang on a Can All-Stars,
Heavy D & The Boyz,
Lyres,
Howard Jones,
Fluxion,
Pierre Henry,
Smog,
Unwound,
Kas Product,
Justin Hinds & The Dominoes,
Isaac Hayes,
Cabaret Voltaire,
Main Source,
Colin Newman,
the Bar-Kays,
Flash Fearless,
Inner City,
Sarah Menescal,
The Moleskins,
Faraquet,
The Divine Comedy,
Absolute Body Control,
Bronski Beat,
Scratch Acid,
Gian Franco Pienzio,
Mo-Dettes,
Andrew Ashong & Theo Parrish,
Kauko Röyhkä ja Narttu,
Urselle,
Matthew Bourne,
Selector Dub Narcotic,
The Barracudas,
Thinking Fellers Union Local 282,
Essential Logic,
The New Christs,
Connie Case,
Supertramp,
Quando Quango,
Anthony Braxton,
Maurizio,
Ultra Naté,
Judy Mowatt,
Brass Construction,
Sugar Minott,
James Chance & The Contortions,
Johnny Clarke,
Gang of Four,
Jacob Miller,
Bizarre Inc.,
the Sonics,
Shuggie Otis,
The Count Five,
Grey Daturas,
Prince Buster,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.