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 Slovakia and from New York.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Bologna 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 Art of Noise practice in a loft in London.
I was working on the mellotron 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 The Red Krayola to the funk kids.
I played it at the 40 Watt.
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 June Days tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Leonard Cohen,
Matthew Bourne,
Parry Music,
Robert Hood,
Oneida,
Visionaries,LMNO, T- Love & Iriscience,
Avey Tare's Slasher Flicks,
DJ Sneak,
Alison Limerick,
Unwound,
Major Organ And The Adding Machine,
Tim Buckley,
Jerry's Kids,
Eyeless In Gaza,
Siouxsie and the Banshees,
Animal Collective,
Lizzy Mercier Descloux,
The Mummies,
Roxette,
Main Source,
Franke,
Ultimate Spinach,
John Coltrane,
Joe Finger,
Andrew Hill,
Janne Schatter,
DJ Style,
The Searchers,
Sam Rivers,
Cluster,
David Bowie,
Buzzcocks,
Kool Moe Dee,
Rhythm & Sound,
Ludus,
The Wake,
Ossler,
Fela Kuti,
AZ,
Donny Hathaway,
Skarface,
Magma,
Eden Ahbez,
Au Pairs,
John Lydon,
Banda Bassotti,
Harry Pussy,
Liliput,
Marvin Gaye,
ABC,
Eddi Front,
Joe Smooth,
Altered Images,
The Gun Club,
X-102,
Teenage Jesus and the Jerks,
Robert Wyatt,
H. Thieme,
Don Cherry,
Pete Rock & C.L. Smooth,
The Men They Couldn't Hang,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.