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 Latvia and from Halifax.
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 1963 to 1974.
I'm losing my edge.
To all the kids in London and Houston.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Supertramp to the grime kids.
I played it at Cafe Wha.
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 Procol Harum. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Gang of Four 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 '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Altered Images,
Arthur Verocai,
Johnny Clarke,
Barrington Levy,
EPMD,
Howard Jones,
The West Coast Pop Art Experimental Band,
The Fortunes,
Bobby Sherman,
Flamin' Groovies,
Pantaleimon,
Kurtis Blow,
Lucky Dragons,
Ludus,
Q and Not U,
The Five Americans,
Bronski Beat,
Connie Case,
DJ Style,
Animal Collective,
Al Stewart,
T.S.O.L.,
Jeru the Damaja,
Goldenarms,
Glambeats Corp.,
Byron Stingily,
Idris Muhammad,
Smog,
Fluxion,
Technova,
Eden Ahbez,
The Music Machine,
Ronnie Foster,
Amazonics,
the Normal,
Lightning Bolt,
The Monochrome Set,
Laurel Aitken,
Quando Quango,
Buzzcocks,
Gerry Rafferty,
Japan,
The Seeds,
John Coltrane,
The Trojans,
Robert Hood,
Rites of Spring,
The Doobie Brothers,
Roxy Music,
T. Rex,
The Victims,
Magma,
Justin Hinds & The Dominoes,
Radio Birdman,
Fort Wilson Riot,
Lalann,
CMW,
Sun Ra,
The Blues Magoos,
Vladislav Delay,
La Düsseldorf,
Curtis Mayfield,
Althea and Donna,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.