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 Vanuatu and from Toronto.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Accra and London.
I'm losing my edge to the art-school Salvador 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 at the first Suicide practice in a loft in New York.
I was working on the guitar 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 Sad Lovers and Giants to the techno kids.
I played it at the Spitz.
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 Donny Hathaway. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal jazz 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 organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Whodini record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Easy Going,
Bobby Byrd,
Andrew Ashong & Theo Parrish,
Fluxion,
Y Pants,
the Soft Cell,
The Victims,
Shuggie Otis,
The Dirtbombs,
X-101,
Alton Ellis,
Zapp,
Magma,
Bizarre Inc.,
K-Klass,
Lebanon Hanover,
Mad Mike,
Tomorrow,
Porter Ricks,
New York Dolls,
Colin Newman,
Crime,
Tom Boy,
Rufus Thomas,
Icehouse,
Deadbeat,
Be Bop Deluxe,
Louis and Bebe Barron,
8 Eyed Spy,
China Crisis,
Cecil Taylor,
Soul Sonic Force,
The Monochrome Set,
Robert Hood,
Roxette,
The Slits,
The Smoke,
Gabor Szabo,
Curtis Mayfield,
The Alarm Clocks,
Fort Wilson Riot,
Monolake,
John Coltrane,
Marc Almond,
Schoolly D,
The Busters,
The Black Dice,
Max Romeo,
Aaron Thompson,
Stiv Bators,
The Electric Prunes,
Ohio Players,
Skaos,
Reagan Youth,
the Normal,
Black Bananas,
Spandau Ballet,
Prince Buster,
Whodini,
Deakin,
Bootsy's Rubber Band,
Cabaret Voltaire,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.