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 South Sudan and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Manila.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Pharaoh Sanders and the Fire Engines to the jazz kids.
I played it at the Hacienda.
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 Gories. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every The Buckinghams 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 '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kayak record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Mo-Dettes,
Moss Icon,
The Victims,
Radiohead,
Nas,
Lyres,
Stockholm Monsters,
Jacob Miller,
John Cale,
Derrick Morgan,
Q and Not U,
Chris Corsano,
Ossler,
The Monks,
the Bar-Kays,
Malaria!,
Au Pairs,
Half Japanese,
Blancmange,
Sun Ra Arkestra,
Dr. Dre and Snoop Doggy Dog,
Newcleus,
Eddi Front,
Michelle Simonal,
Spandau Ballet,
Lower 48,
Rowland S Howard / Lydia Lunch,
Gregory Isaacs,
Susan Cadogan,
Man Parrish,
Cal Tjader,
This Heat,
X-102,
Sex Pistols,
The Golliwogs,
Bang On A Can,
The Sisters of Mercy,
Sandy B,
Mantronix,
Anthony Braxton,
Sight & Sound,
Richard Hell and the Voidoids,
Heavy D & The Boyz,
Von Mondo,
The Busters,
Crime,
Youth Brigade,
Charles Mingus,
Pete Rock & C.L. Smooth,
Rapeman,
The Mighty Diamonds,
Flamin' Groovies,
Rhythim Is Rhythim,
Mad Mike,
Essential Logic,
James White and The Blacks,
Rufus Thomas,
The Stooges,
Jeru the Damaja,
The Gladiators,
Fat Boys,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.