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 Uganda and from Johannesburg.
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 1973.
I'm losing my edge.
To all the kids in Beijing and Lagos.
I'm losing my edge to the art-school Seoul 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 sitar 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 Bobby Hutcherson to the crunk 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 Alison Limerick. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Khruangbin 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Buzzcocks,
Kas Product,
Groovy Waters,
Danielle Patucci,
Robert Wyatt,
Moby Grape,
Dr. Dre and Snoop Doggy Dog,
D'Angelo,
Brick,
The Barracudas,
The Smoke,
Oneida,
The Sisters of Mercy,
Y Pants,
Jeru the Damaja,
Ponytail,
The Zeros,
Rotary Connection,
Pharaoh Sanders and the Fire Engines,
The Move,
The Tremeloes,
Kauko Röyhkä ja Narttu,
Lou Reed & Metallica,
Inner City,
Todd Terry,
Second Layer,
Grandmaster Flash,
Crispy Ambulance,
Pylon,
Kool Moe Dee,
DeepChord presents Echospace,
The Offenders,
Alphaville,
John Lydon,
Spoonie Gee,
Jerry's Kids,
Aloha Tigers,
Ohio Players,
Cabaret Voltaire,
the Soft Cell,
Liliput,
Jeff Lynne,
Sun Ra Arkestra,
Erykah Badu,
The Gun Club,
Boogie Down Productions,
The Busters,
Alice Coltrane,
Harry Pussy,
Skriet,
Motorama,
The Birthday Party,
Thinking Fellers Union Local 282,
PIL,
Beasts of Bourbon,
Yazoo,
Circle Jerks,
Avey Tare & Kría Brekkan,
Japan,
ABBA,
Urselle,
CMW,
Manfred Mann's Earth Band,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.