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 Iran and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Accra and Johannesburg.
I'm losing my edge to the art-school Seoul 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Last Poets to the jazz kids.
I played it at the Astoria.
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 Arthur Verocai. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
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,
Thee Headcoats,
Derrick May,
Dorothy Ashby,
Blancmange,
Brand Nubian,
Motorama,
Nick Cave & The Bad Seeds,
L. Decosne,
Lou Reed & Metallica,
Stiv Bators,
Pantaleimon,
Metal Thangz,
Electric Prunes,
Bronski Beat,
Lalann,
The Invisible,
The Associates,
Hoover,
Bluetip,
X-102,
Saccharine Trust,
Skaos,
Parry Music,
Lebanon Hanover,
Camouflage,
Schoolly D,
Monks,
Henry Cow,
Morten Harket,
Jeff Lynne,
The Men They Couldn't Hang,
Brick,
The Sound,
James White and The Blacks,
Country Teasers,
Nick Fraelich,
the Soft Cell,
Dual Sessions,
Echo & the Bunnymen,
Excepter,
The United States of America,
Big Daddy Kane,
cv313,
Franke,
The Raincoats,
Gastr Del Sol,
Arab on Radar,
Malaria!,
Selector Dub Narcotic,
Bobbi Humphrey,
John Cale,
Alphaville,
Tomorrow,
Bobby Byrd,
Fat Boys,
Guru Guru,
Roger Hodgson,
Fluxion,
the Fania All-Stars,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.