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 Brunei and from New York.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Hong Kong 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 Chic practice in a loft in New York.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Interpol to the rap 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 MDC. All the underground hits.
All K-Klass 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Gerry Rafferty record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Pete Rock & C.L. Smooth,
Lonnie Liston Smith,
Bizarre Inc.,
It's A Beautiful Day,
The Gun Club,
Quando Quango,
Michelle Simonal,
Henry Cow,
X-101,
Letta Mbulu,
Warsaw,
CMW,
Andrew Hill,
Glambeats Corp.,
Chris Corsano,
MDC,
Nick Cave & The Bad Seeds,
Ultimate Spinach,
Qualms,
Aaron Thompson,
Larry & the Blue Notes,
Jacob Miller,
Los Fastidios,
Procol Harum,
Lightning Bolt,
Unrelated Segments,
Mr. Review,
Kings Of Tomorrow,
Severed Heads,
Khruangbin,
Mark Hollis,
The Searchers,
Talk Talk,
The Fortunes,
Avey Tare's Slasher Flicks,
China Crisis,
Ash Ra Tempel,
T. Rex,
Ice-T,
John Foxx,
Average White Band,
Barrington Levy,
Mars,
cv313,
Rowland S Howard / Lydia Lunch,
Bootsy Collins,
Marc Almond,
Loose Ends,
Kerri Chandler,
Roy Ayers,
Lyres,
The Busters,
Alton Ellis,
Urselle,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Art Ensemble Of Chicago,
Crispian St. Peters,
Soft Machine,
Wally Richardson,
The Slits,
The Sound,
Lindisfarne,
Spoonie Gee,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.