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 Jordan and from Lille.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Beijing and Houston.
I'm losing my edge to the art-school Taipei 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 clarinet 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 Ornette Coleman to the rock kids.
I played it at the Hacienda.
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 Jacques Brel. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Gregory Isaacs 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
The Busters,
La Düsseldorf,
Heaven 17,
Barclay James Harvest,
Mark Hollis,
Pete Rock & C.L. Smooth,
The Count Five,
Saccharine Trust,
The Searchers,
Ash Ra Tempel,
The American Breed,
Nick Cave & The Bad Seeds,
The Fuzztones,
Nico,
Duran Duran,
Los Fastidios,
Justin Hinds & The Dominoes,
Kevin Saunderson,
The Slits,
The Zeros,
The Shadows of Knight,
The Last Poets,
John Holt,
EPMD,
The Real Kids,
Infiniti,
Soft Cell,
Subhumans,
Chris & Cosey,
Dual Sessions,
Red Lorry Yellow Lorry,
Amon Düül II,
Ultra Naté,
Camouflage,
Magma,
the Soft Cell,
MDC,
Peter and Kerry,
Scion,
Charles Mingus,
Faraquet,
The Blues Magoos,
Eden Ahbez,
Reagan Youth,
Minnie Riperton,
Todd Rundgren,
Unrelated Segments,
Marmalade,
Sugar Minott,
Procol Harum,
Todd Terry,
Altered Images,
Kool Moe Dee,
Jandek,
Lalann,
Steve Hackett,
Ituana,
Sarah Menescal,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.