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 Colombia and from Houston.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Lyon.
I'm losing my edge to the art-school Milan 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 Buzzcocks practice in a loft in Bolton.
I was working on the organ 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 Kerri Chandler to the grime kids.
I played it at the Roxy.
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 Jeff Mills. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Interpol 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Bobby Womack,
EPMD,
Ornette Coleman,
Interpol,
Country Joe & The Fish,
Beasts of Bourbon,
Eric Dolphy,
Michelle Simonal,
Howard Jones,
The Fire Engines,
Rowland S Howard / Lydia Lunch,
Ralphi Rosario,
F. McDonald,
Dorothy Ashby,
The Associates,
Gil Scott Heron,
Colin Newman,
Mark Hollis,
The Birthday Party,
It's A Beautiful Day,
Bizarre Inc.,
Infiniti,
Gil Scott-Heron and Jamie xx,
Pantytec,
Eric B and Rakim,
Fear,
Harry Pussy,
KRS-One,
Grey Daturas,
The Shadows of Knight,
Andrew Hill,
Television,
Sound Behaviour,
Manfred Mann's Earth Band,
Arthur Verocai,
Gichy Dan,
Lucky Dragons,
Nas,
Theoretical Girls,
Fela Kuti,
The Kinks,
the Slits,
The Doors,
Chrome,
June of 44,
Underground Resistance,
Surgeon,
Marc Romboy vs. Booka Shade,
Half Japanese,
48th St. Collective,
Eyeless In Gaza,
Rapeman,
The Real Kids,
Don Cherry,
Nation of Ulysses,
Anakelly,
One Last Wish,
Essential Logic,
Outsiders,
Altered Images,
Graham Central Station,
Skarface, Skarface, Skarface, Skarface.
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.