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 Tuvalu and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Milan and Hong Kong.
I'm losing my edge to the art-school Shanghai 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 at the first Suicide practice in a loft in New York.
I was working on the mellotron 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 Grauzone to the rap 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 Sticky Fingaz feat. Raekwon. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal grime 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Heavy D & The Boyz,
Gong,
Minnie Riperton,
Traffic Nightmare,
Lizzy Mercier Descloux,
Selector Dub Narcotic,
Reuben Wilson,
Sister Nancy,
Eurythmics,
Nico,
Vaughan Mason & Crew,
Goldenarms,
The Vogues,
Cameo,
U.S. Maple,
Gerry Rafferty,
Susan Cadogan,
Terry Callier,
The Invisible,
Shuggie Otis,
a-ha,
Art Ensemble Of Chicago,
H. Thieme,
Eric Dolphy,
The Busters,
Yaz,
Kerri Chandler,
The Alarm Clocks,
Magazine,
The Pop Group,
Kurtis Blow,
Marine Girls,
Amon Düül,
The Slackers,
Manfred Mann's Earth Band,
Wolf Eyes,
Sarah Menescal,
Soft Machine,
Todd Rundgren,
T. Rex,
Heaven 17,
Ituana,
Bush Tetras,
Tropical Tobacco,
Clear Light,
Donald Byrd,
Warren Ellis,
Sugar Minott,
Red Lorry Yellow Lorry,
Johnny Clarke,
Pole,
Glenn Branca,
The Fortunes,
The Beau Brummels,
Man Parrish,
Stereo Dub,
Yellowson,
Angry Samoans,
The Peanut Butter Conspiracy,
Eyeless In Gaza,
Echo & the Bunnymen,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.