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 Peru and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1972.
I'm losing my edge.
To all the kids in New York and Delhi.
I'm losing my edge to the art-school Beijing 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar 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 Make Up to the funk 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 The Skatalites. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Last Poets record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
Franke,
the Swans,
Grauzone,
Liliput,
X-Ray Spex,
The Count Five,
Barrington Levy,
the Sonics,
Neu!,
The Gories,
Minor Threat,
Cal Tjader,
Jacques Brel,
Marmalade,
DJ Sneak,
Sister Nancy,
Barbara Tucker,
Wings,
Rosa Yemen,
Glenn Branca,
Ornette Coleman,
Marshall Jefferson,
Laurel Aitken,
Nik Kershaw,
Accadde A,
Agent Orange,
The Walker Brothers,
the Association,
Harmonia,
Cecil Taylor,
The Fire Engines,
DeepChord presents Echospace,
Animal Collective,
Ken Boothe,
Mo-Dettes,
Lakeside,
Sly & The Family Stone,
Jeru the Damaja,
Junior Murvin,
Andrew Hill,
Eric Dolphy,
Supertramp,
Minny Pops,
Marc Romboy vs. Booka Shade,
Crispy Ambulance,
Johnny Osbourne,
Sonny Sharrock,
Bronski Beat,
Oneida,
Cameo,
Deakin,
Brick,
Fifty Foot Hose,
Moss Icon,
Arcadia,
DNA,
Kas Product,
K-Klass,
Second Layer, Second Layer, Second Layer, Second Layer.
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.