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 Montenegro and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Edmonton and New York.
I'm losing my edge to the art-school Columbus 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Nas to the jazz 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 Crime. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Ponytail,
Malaria!,
Organ,
Ornette Coleman,
Newcleus,
The Dave Clark Five,
Eric Dolphy,
Quantec,
Crooked Eye,
Juan Atkins,
H. Thieme,
MC5,
Eurythmics,
New York Dolls,
Supertramp,
ABC,
The Gladiators,
Glenn Branca,
Electric Light Orchestra,
Cluster,
Kerrie Biddell,
X-Ray Spex,
Andrew Ashong & Theo Parrish,
Joe Finger,
The Pop Group,
Fugazi,
Scientists,
Soul II Soul,
It's A Beautiful Day,
John Cale,
Thee Headcoats,
Deakin,
Harpers Bizarre,
Slave,
Metal Thangz,
The Barracudas,
Gil Scott Heron,
Drive Like Jehu,
Joy Division,
Sister Nancy,
Main Source,
Lightning Bolt,
The Fall,
London Community Gospel Choir,
X-101,
Ken Boothe,
Rufus Thomas,
Angry Samoans,
Notorious Big And Bone Thugs,
Jesper Dahlbäck,
Make Up,
Black Flag,
Groovy Waters,
Blake Baxter,
Urselle,
La Düsseldorf,
Brothers Johnson,
Pete Rock & C.L. Smooth,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.