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 Kenya and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1977.
I'm losing my edge.
To all the kids in Lille and Winnipeg.
I'm losing my edge to the art-school Mexico City 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Jeru the Damaja to the punk kids.
I played it at the Troubador.
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 Y Pants. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Flipper 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Parry Music,
Suburban Knight,
Gil Scott-Heron and Jamie xx,
Eyeless In Gaza,
Half Japanese,
Tubeway Army,
Tommy Roe,
Oneida,
David McCallum,
Lalo Schifrin,
The Alarm Clocks,
The Human League,
The Divine Comedy,
48th St. Collective,
Bang on a Can All-Stars,
Gary Puckett & The Union Gap,
Eurythmics,
Quantec,
Basic Channel,
Sparks,
DJ Sneak,
Strawberry Alarm Clock,
Fear,
Deakin,
Aswad,
Anthony Braxton,
Man Eating Sloth,
Kerrie Biddell,
The Searchers,
Connie Case,
Nico,
Country Teasers,
The Cramps,
Cal Tjader,
Vaughan Mason & Crew,
Minnie Riperton,
Cameo,
The Dead C,
Swell Maps,
Negative Approach,
EPMD,
Drexciya,
Kool Moe Dee,
Kayak,
New Order,
The Velvet Underground,
Harry Pussy,
Thompson Twins,
The J.B.'s,
8 Eyed Spy,
Be Bop Deluxe,
Sunsets and Hearts,
Eric B and Rakim,
Steve Hackett,
Yusef Lateef,
Grey Daturas,
Crime,
Gil Scott Heron,
New York Dolls,
The Leaves,
The Jesus and Mary Chain,
The Trojans, The Trojans, The Trojans, The Trojans.
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.