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 Cameroon and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Taipei 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 snare 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 Jacques Brel to the jazz 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 Porter Ricks. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Swell Maps 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 '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Young Marble Giants,
Roxy Music,
Nation of Ulysses,
London Community Gospel Choir,
Q and Not U,
Negative Approach,
Fear,
Richard Hell and the Voidoids,
The Fugs,
Motorama,
Michelle Simonal,
Arthur Verocai,
Sonny Sharrock,
Sad Lovers and Giants,
Donald Byrd,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Strawberry Alarm Clock,
Country Teasers,
Grandmaster Flash and the Furious Five,
Kaleidoscope,
Scientists,
Lee Hazlewood,
Don Cherry,
Make Up,
Ultravox,
Alton Ellis,
Harmonia,
Henry Cow,
The Angels of Light,
Ponytail,
John Coltrane,
Susan Cadogan,
The Star Department,
Soft Cell,
Mark Hollis,
Pharoah Sanders,
Babytalk,
Average White Band,
La Düsseldorf,
The Red Krayola,
The Seeds,
Spandau Ballet,
MC5,
The Slackers,
Marc Romboy vs. Booka Shade,
Drexciya,
EPMD,
Anakelly,
Rotary Connection,
The Happenings,
Lafayette Afro Rock Band,
Piero Umiliani,
Groovy Waters,
Grey Daturas,
Radiohead,
Public Enemy,
Man Parrish,
Buzzcocks,
Absolute Body Control,
Schoolly D,
John Cale,
DJ Sneak,
Y Pants, Y Pants, Y Pants, Y Pants.
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.