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 Bahamas and from New York.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Lagos and Bologna.
I'm losing my edge to the art-school Madrid 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 Nation of Ulysses to the grime kids.
I played it at the Roxy.
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 Mission of Burma. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every The Martian 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Trumans Water record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Von Mondo,
Big Daddy Kane,
Essential Logic,
Wings,
Swell Maps,
The West Coast Pop Art Experimental Band,
Marc Romboy vs. Booka Shade,
Lyres,
The Litter,
Kerrie Biddell,
The Blues Magoos,
Electric Light Orchestra,
Juan Atkins,
Gerry Rafferty,
David Bowie,
Reuben Wilson,
Patti Smith,
Amazonics,
Michelle Simonal,
Jeff Lynne,
Hasil Adkins,
The Shadows of Knight,
Jawbox,
Half Japanese,
The Slackers,
Alphaville,
Jeff Mills,
The Move,
The Leaves,
Judy Mowatt,
Quadrant,
The Neon Judgement,
Nils Olav,
The Count Five,
Fatback Band,
David Axelrod,
Sound Behaviour,
Ultra Naté,
The Barracudas,
Derrick Morgan,
Zapp,
Brothers Johnson,
Nation of Ulysses,
Nirvana,
The Human League,
Soul II Soul,
Boz Scaggs,
Anthony Braxton,
The Residents,
The Sisters of Mercy,
Lou Reed & John Cale,
London Community Gospel Choir,
Wire,
kango's stein massive,
James Chance & The Contortions,
Siglo XX,
The Standells,
Ajijia Myrayebe,
Eve St. Jones,
Carl Craig,
Justin Hinds & The Dominoes,
Outsiders, Outsiders, Outsiders, Outsiders.
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.