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 Antigua and from Taipei.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Spokane and Madrid.
I'm losing my edge to the art-school Manchester 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Althea and Donna to the grunge 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 The Move. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
Thinking Fellers Union Local 282,
The Fuzztones,
Quando Quango,
Zapp,
Circle Jerks,
Ralphi Rosario,
The Sound,
Sun Ra,
Arthur Verocai,
The Young Rascals,
Judy Mowatt,
Ponytail,
Bauhaus,
Sonny Sharrock,
Rekid,
Grandmaster Flash,
A Flock of Seagulls,
T.S.O.L.,
Connie Case,
Ronnie Foster,
Boogie Down Productions,
The Divine Comedy,
La Düsseldorf,
Slick Rick,
Blancmange,
Pete Rock & C.L. Smooth,
The Litter,
the Bar-Kays,
Underground Resistance,
Kool G Rap & DJ Polo,
Essential Logic,
Big Daddy Kane,
The Associates,
Marshall Jefferson,
Japan,
Nation of Ulysses,
The Kinks,
Kayak,
London Community Gospel Choir,
In Retrospect,
Supertramp,
Newcleus,
Bronski Beat,
The Leaves,
Country Teasers,
Peter and Kerry,
Brick,
Gabor Szabo,
Super Lover Cee & Casanova Rud,
Jeru the Damaja,
The Standells,
Henry Cow,
The Men They Couldn't Hang,
Kool Moe Dee,
Alton Ellis,
Skaos,
Alice Coltrane,
Sight & Sound,
Byron Stingily,
Terry Callier,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.