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 Ireland and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1974.
I'm losing my edge.
To all the kids in Calgary and Woodstock.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet 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 Leonard Cohen to the disco 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 Underground Resistance. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every The Kinks 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 '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Crash Course in Science,
Derrick May,
Tom Boy,
Visionaries,LMNO, T- Love & Iriscience,
Don Cherry,
Gil Scott-Heron & Brian Jackson,
The Red Krayola,
Yellowson,
Captain Beefheart & His Magic Band,
The Moleskins,
Derrick Morgan,
AZ,
Public Image Ltd.,
Quantec,
Joe Finger,
Fear,
Gerry Rafferty,
A Certain Ratio,
Kevin Saunderson,
Scion,
Cabaret Voltaire,
Roxette,
Spoonie Gee,
Audionom,
Lou Christie,
Boz Scaggs,
Harry Pussy,
The Doors,
The Move,
James Chance & The Contortions,
Deepchord,
The Gories,
Charles Mingus,
Eric Dolphy,
Kerri Chandler,
Frankie Knuckles,
Scott Walker + Sunn O))),
The Raincoats,
a-ha,
Q65,
These Immortal Souls,
Supertramp,
Scientists,
De La Soul & Jungle Brothers,
Con Funk Shun,
Blake Baxter,
Archie Shepp,
Mad Mike,
Boogie Down Productions,
Ultra Naté,
Sandy B,
Au Pairs,
Black Moon,
The Slits,
Severed Heads,
Scan 7,
Vladislav Delay,
U.S. Maple,
Fifty Foot Hose,
Al Stewart,
Slave, Slave, Slave, Slave.
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.