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 Mexico and from Accra.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1975.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school Accra 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Joensuu 1685 to the jazz kids.
I played it at the Crocodile.
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 Nik Kershaw. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
The Associates,
48th St. Collective,
Lou Reed & Metallica,
Thee Headcoats,
D'Angelo,
Sight & Sound,
Camberwell Now,
the Swans,
Ronnie Foster,
Lungfish,
a-ha,
Rites of Spring,
Bill Wells,
Sonic Youth,
Minor Threat,
The Offenders,
The Sound,
Blossom Toes,
The Gap Band,
The Barracudas,
Cybotron,
Fela Kuti,
Hashim,
The Black Dice,
Loose Ends,
Reuben Wilson,
Barry Ungar,
The Neon Judgement,
Derrick May,
Theoretical Girls,
Deadbeat,
Ken Boothe,
LL Cool J,
Nation of Ulysses,
Dawn Penn,
Manfred Mann's Earth Band,
Ice-T,
The Motions,
The Cowsills,
Rufus Thomas,
Lindisfarne,
Lee Hazlewood,
Infiniti,
Malaria!,
Faust,
Lou Reed,
Aaron Thompson,
Pagans,
Spoonie Gee,
Albert Ayler,
K-Klass,
Sun Ra Arkestra,
Scott Walker + Sunn O))),
Pere Ubu,
Gil Scott-Heron & Brian Jackson,
Isaac Hayes,
Byron Stingily,
Organ,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.