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 El Salvador and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in Portland and Columbus.
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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 Robert Görl to the rap kids.
I played it at the 40 Watt.
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 L. Decosne. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Pet Shop Boys record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
The American Breed,
Desert Stars,
Khruangbin,
The Music Machine,
Jacob Miller,
Magma,
Kurtis Blow,
Bill Wells,
the Fania All-Stars,
Dennis Brown,
Wolf Eyes,
Terrestrial Tones,
Hasil Adkins,
Kevin Saunderson,
The J.B.'s,
Peter & Gordon,
Bootsy Collins,
Franke,
Nation of Ulysses,
Fort Wilson Riot,
Cheater Slicks,
Ossler,
Jeru the Damaja,
D'Angelo,
10cc,
Amazonics,
Lee Hazlewood,
The Fortunes,
Max Romeo,
The Dave Clark Five,
Underground Resistance,
Kauko Röyhkä ja Narttu,
Blancmange,
Heavy D & The Boyz,
The Offenders,
The West Coast Pop Art Experimental Band,
Section 25,
Ultimate Spinach,
Alison Limerick,
Popol Vuh,
Minnie Riperton,
Gary Puckett & The Union Gap,
Zero Boys,
Joey Negro,
Animal Collective,
Fad Gadget,
The Remains,
Art Ensemble Of Chicago,
Traffic Nightmare,
Bang on a Can All-Stars,
Archie Shepp,
Fluxion,
Gian Franco Pienzio,
The Pretty Things,
The Associates,
Shuggie Otis,
Youth Brigade,
Marvin Gaye,
Y Pants,
Bauhaus,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.