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 Senegal and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
I'm losing my edge to the art-school Delhi 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the chamberlin 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 Skatalites to the dance kids.
I played it at Cafe Wha.
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 Kenny Larkin. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Sonny Sharrock record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Grey Daturas,
Moebius,
The Real Kids,
Tom Boy,
Charles Mingus,
Avey Tare & Kría Brekkan,
The Angels of Light,
Pantaleimon,
The Seeds,
Depeche Mode,
Electric Prunes,
Joe Smooth,
The Offenders,
Gong,
Ultra Naté,
Desert Stars,
Lou Reed & John Cale,
Motorama,
MDC,
Agitation Free,
Louis and Bebe Barron,
Blossom Toes,
The Residents,
Danielle Patucci,
Peter & Gordon,
Eli Mardock,
Gerry Rafferty,
Susan Cadogan,
The Gladiators,
Bang On A Can,
Chris Corsano,
Rapeman,
Don Cherry,
The Five Americans,
Bush Tetras,
The Jesus and Mary Chain,
Anthony Braxton,
The Mummies,
D'Angelo,
The Trojans,
Los Fastidios,
Drive Like Jehu,
Roy Ayers Ubiquity,
the Soft Cell,
Gil Scott Heron,
Notorious Big And Bone Thugs,
Soul Sonic Force,
New York Dolls,
Oneida,
Terry Callier,
Organ,
Mark Hollis,
Jesper Dahlbäck,
Dead Boys,
Ken Boothe,
The American Breed,
Minor Threat,
Lonnie Liston Smith,
The Shadows of Knight,
Massinfluence,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.