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 Chad and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Paris 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 New Age Steppers to the grime kids.
I played it at the Hacienda.
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 Talk Talk. All the underground hits.
All Pole tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Infiniti,
Bill Near,
Kings Of Tomorrow,
Wire,
Be Bop Deluxe,
Los Fastidios,
Suburban Knight,
Soul II Soul,
Spandau Ballet,
Alice Coltrane,
Harmonia,
Eric Copeland,
Lonnie Liston Smith,
The Monks,
Juan Atkins,
Avey Tare's Slasher Flicks,
Excepter,
The Residents,
James Chance & The Contortions,
Peter and Kerry,
Eric B and Rakim,
Jeru the Damaja,
Leonard Cohen,
Ultravox,
OOIOO,
The Stooges,
Camberwell Now,
Das Ding,
Grandmaster Flash and the Furious Five,
Quantec,
Slick Rick,
Robert Wyatt,
World's Most,
The Birthday Party,
Neil Young,
Gil Scott-Heron & Brian Jackson,
Scientists,
Max Romeo,
Maleditus Sound,
The Blues Magoos,
DNA,
The Mojo Men,
Brand Nubian,
Thee Headcoats,
kango's stein massive,
In Retrospect,
Funkadelic,
The Litter,
The Cosmic Jokers,
Rekid,
The Sisters of Mercy,
Charles Mingus,
Unrelated Segments,
Mark Hollis,
Jeff Lynne,
Bad Manners,
Mr. Review,
Bobby Hutcherson,
F. McDonald,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.