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 Cyprus and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Cairo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Idris Muhammad to the jazz kids.
I played it at the Roxy.
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 Pharoah Sanders. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal electroclash 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 arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Robert Hood,
The Doors,
The Peanut Butter Conspiracy,
FM Einheit,
Leonard Cohen,
Harry Pussy,
Camouflage,
Gil Scott-Heron & Brian Jackson,
The Gladiators,
Derrick Morgan,
The West Coast Pop Art Experimental Band,
Bush Tetras,
The Blackbyrds,
Visionaries,LMNO, T- Love & Iriscience,
Audionom,
The Knickerbockers,
Maurizio,
Scientists,
Quantec,
The Birthday Party,
Funky Four + One,
The Fugs,
Alphaville,
Lou Reed & Metallica,
Index,
Gil Scott-Heron and Jamie xx,
Soft Machine,
Arab on Radar,
Second Layer,
Traffic Nightmare,
The Index,
Ten City,
The Sound,
Angry Samoans,
Gian Franco Pienzio,
Guru Guru,
The Monochrome Set,
The Star Department,
Josef K,
Faraquet,
Whodini,
Mr. Review,
Delon & Dalcan,
Gary Puckett & The Union Gap,
DNA,
Pantaleimon,
Bill Near,
Robert Görl,
Steve Hackett,
Joey Negro,
The Slits,
The Misunderstood,
Porter Ricks,
The Smoke,
Silicon Teens,
Ohio Players,
the Normal,
Livin' Joy,
Rufus Thomas,
The Mojo Men,
PIL,
The Happenings,
Main Source, Main Source, Main Source, Main Source.
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.