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 Turkey and from New York.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Lyon 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Barrington Levy to the rap 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 Sun Ra. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
The Remains,
Ken Boothe,
Yellowson,
Bobbi Humphrey,
Kool G Rap & DJ Polo,
The Moleskins,
T. Rex,
The Cosmic Jokers,
Nick Fraelich,
Ajijia Myrayebe,
Hot Snakes,
Heavy D & The Boyz,
Rapeman,
Bobby Womack,
Vainqueur,
Au Pairs,
The Pretty Things,
London Community Gospel Choir,
Ituana,
Cymande,
Royal Trux,
Nick Cave & The Bad Seeds,
Pet Shop Boys,
The Names,
Sparks,
Sound Behaviour,
Television,
Joyce Sims,
Todd Rundgren,
Connie Case,
Shuggie Otis,
Kayak,
Warsaw,
Blossom Toes,
Country Joe & The Fish,
Albert Ayler,
Arthur Verocai,
Barry Ungar,
Grandmaster Flash,
Camron Feat. Memphis Bleek And Beenie Seigel,
Harpers Bizarre,
Liliput,
Outsiders,
Boogie Down Productions,
The Men They Couldn't Hang,
Swans,
U.S. Maple,
Glenn Branca,
Dawn Penn,
Marc Romboy vs. Booka Shade,
Shoche,
the Fania All-Stars,
Rakim,
Stetsasonic,
The J.B.'s,
The Gun Club,
The Doors,
Kool Moe Dee,
Black Bananas,
Bang on a Can All-Stars,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.