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 Indonesia and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
I'm losing my edge to the art-school Columbus 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 at the first Suicide practice in a loft in New York.
I was working on the synthesizer 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 Joensuu 1685 to the grime kids.
I played it at Trash.
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 Monolake. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Model 500 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
The American Breed,
Andrew Hill,
Lungfish,
Yaz,
Letta Mbulu,
Lizzy Mercier Descloux,
Scion,
Grandmaster Flash and the Furious Five,
Donny Hathaway,
Camberwell Now,
EPMD,
Royal Trux,
Oblivians,
Wally Richardson,
Johnny Osbourne,
Arthur Verocai,
Can,
The Remains,
Gil Scott Heron,
FM Einheit,
Nils Olav,
The Sisters of Mercy,
Marc Romboy vs. Booka Shade,
Eden Ahbez,
Barry Ungar,
the Slits,
Eric B and Rakim,
Spoonie Gee,
Pete Rock & C.L. Smooth,
Henry Cow,
Soul II Soul,
Scratch Acid,
Soft Machine,
The Tremeloes,
Terry Callier,
Gabor Szabo,
Boz Scaggs,
Lee Hazlewood,
the Normal,
John Lydon,
Schoolly D,
the Soft Cell,
Piero Umiliani,
Eric Copeland,
Robert Wyatt,
Animal Collective,
Max Romeo,
Marc Almond,
Swans,
The Saints,
Index,
The Velvet Underground,
Blake Baxter,
Richard Hell and the Voidoids,
Thinking Fellers Union Local 282,
Man Eating Sloth,
Avey Tare's Slasher Flicks,
Tres Demented,
Underground Resistance,
Spandau Ballet,
Kenny Larkin,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.