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 Benin and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Mexico City and Houston.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Wire practice in a loft in Watford.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Boogie Down Productions to the disco kids.
I played it at the Astoria.
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 American Breed. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every D'Angelo 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Ultravox,
The Last Poets,
MDC,
Justin Hinds & The Dominoes,
Quadrant,
Traffic Nightmare,
Oblivians,
Gary Puckett & The Union Gap,
Iggy Pop,
Gil Scott-Heron and Jamie xx,
JFA,
Camberwell Now,
F. McDonald,
Mars,
Kango’s Stein Massive,
The Blues Magoos,
The Searchers,
LL Cool J,
Josef K,
World's Most,
Arcadia,
Rufus Thomas,
Crash Course in Science,
Fatback Band,
Fela Kuti,
Lou Reed & John Cale,
Sandy B,
Barbara Tucker,
Lungfish,
Ultra Naté,
Technova,
Arab on Radar,
Althea and Donna,
the Human League,
Suicide,
The Mojo Men,
Skaos,
Rakim,
Pierre Henry,
The Smiths,
Main Source,
Grauzone,
Slick Rick,
Glambeats Corp.,
Organ,
The Dead C,
Jeff Lynne,
Bronski Beat,
Bill Near,
Chris Corsano,
ABBA,
Joensuu 1685,
The Names,
Ossler,
Albert Ayler,
Manfred Mann's Earth Band,
Faust,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.