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 Armenia and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Salvador.
I'm losing my edge to the art-school Copenhagen 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 Lewis practice in a loft in Vancouver.
I was working on the oboe 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 Pete Rock & C.L. Smooth to the jazz kids.
I played it at the 40 Watt.
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 Underground Resistance. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Ten City,
John Foxx,
Blossom Toes,
Underground Resistance,
Gang Gang Dance,
June of 44,
The Misunderstood,
Don Cherry,
The Skatalites,
Fear,
Dual Sessions,
Nils Olav,
Faraquet,
DNA,
Quando Quango,
FM Einheit,
Thompson Twins,
Dorothy Ashby,
Von Mondo,
The Saints,
Ralphi Rosario,
Mission of Burma,
Flipper,
Lonnie Liston Smith,
Sixth Finger,
Mr. Review,
Gil Scott-Heron and Jamie xx,
Stiv Bators,
Louis and Bebe Barron,
The Chocolate Watch Band,
Oppenheimer Analysis,
The Martian,
Graham Central Station,
Byron Stingily,
Kings Of Tomorrow,
John Holt,
Ludus,
Crooked Eye,
Scrapy,
The Mummies,
Patti Smith,
Altered Images,
Joey Negro,
Richard Hell and the Voidoids,
The Gun Club,
L. Decosne,
Swans,
Shoche,
the Soft Cell,
AZ,
Eli Mardock,
Amon Düül,
Archie Shepp,
Al Stewart,
Aaron Thompson,
The Names,
The Dirtbombs,
Sugar Minott,
Skarface,
Gil Scott Heron,
Soft Cell,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.