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 Madagascar and from Manila.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Accra and Salvador.
I'm losing my edge to the art-school Milan 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator 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 Roger Hodgson to the punk kids.
I played it at the Astoria.
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 Soft Machine. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Harpers Bizarre 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics 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?
The Vogues,
Piero Umiliani,
Arab on Radar,
Eli Mardock,
The West Coast Pop Art Experimental Band,
Sarah Menescal,
Ken Boothe,
Marmalade,
Wally Richardson,
The Fire Engines,
Alphaville,
Super Lover Cee & Casanova Rud,
The Associates,
Parry Music,
Henry Cow,
Sällskapet,
Derrick Morgan,
Average White Band,
The Slits,
JFA,
Barclay James Harvest,
Albert Ayler,
Scratch Acid,
Mad Mike,
The Knickerbockers,
Public Enemy,
Malaria!,
The Cowsills,
Franke,
Laurel Aitken,
The Black Dice,
Sad Lovers and Giants,
Moebius,
H. Thieme,
Throbbing Gristle,
Ash Ra Tempel,
Marshall Jefferson,
Barrington Levy,
Ronan,
Lafayette Afro Rock Band,
Lalo Schifrin,
The Remains,
The Blues Magoos,
Country Teasers,
Archie Shepp,
John Holt,
Cal Tjader,
Nation of Ulysses,
Hasil Adkins,
T.S.O.L.,
X-Ray Spex,
Minor Threat,
Soft Cell,
DJ Sneak,
The Fugs,
Black Flag,
New York Dolls,
Man Parrish,
Magazine,
DeepChord presents Echospace,
John Coltrane,
Justin Hinds & The Dominoes,
Monks, Monks, Monks, Monks.
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.