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 Portugal and from New York.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Portland 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Second Layer to the rap kids.
I played it at the Spitz.
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 Bootsy's Rubber Band. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every The Fuzztones 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Liliput,
Japan,
The Black Dice,
The Tremeloes,
Livin' Joy,
Aloha Tigers,
Deutsch Amerikanische Freundschaft,
Gregory Isaacs,
The Doors,
Roy Ayers,
Matthew Bourne,
Quantec,
Flash Fearless,
The Skatalites,
La Düsseldorf,
Pole,
Scan 7,
Cecil Taylor,
Deepchord,
K-Klass,
Gerry Rafferty,
The Names,
Danielle Patucci,
Cluster,
The Vogues,
Ohio Players,
The New Christs,
June of 44,
Groovy Waters,
Judy Mowatt,
The Techniques,
Blake Baxter,
Angels of Light & Akron/Family,
Fifty Foot Hose,
Cal Tjader,
New York Dolls,
Lightning Bolt,
Motorama,
AZ,
Zero Boys,
The Fortunes,
Nico,
Pylon,
Magazine,
Monks,
Section 25,
Fela Kuti,
Chris & Cosey,
Franke,
Ultra Naté,
The Offenders,
Andrew Hill,
Joey Negro,
Buzzcocks,
Colin Newman,
Grandmaster Flash and the Furious Five,
The Mighty Diamonds,
EPMD,
Faust,
Tubeway Army,
Sparks,
Bootsy's Rubber Band,
Be Bop Deluxe,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.