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 Vietnam and from Woodstock.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Philadelphia 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Sad Lovers and Giants to the grime kids.
I played it at the 40 Watt.
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 Rotary Connection. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Barclay James Harvest 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 '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Skaos,
KRS-One,
Radio Birdman,
Eli Mardock,
Juan Atkins,
The Sisters of Mercy,
Big Daddy Kane,
Clear Light,
Little Man,
Gil Scott-Heron & Brian Jackson,
Bobby Womack,
Crash Course in Science,
Minnie Riperton,
The Fire Engines,
The Slackers,
Tom Boy,
The Detroit Cobras,
Drexciya,
Main Source,
Qualms,
The Five Americans,
Sam Rivers,
Masters at Work,
The Human League,
The Searchers,
The Dead C,
Patti Smith,
Black Bananas,
Fugazi,
Selector Dub Narcotic,
Eden Ahbez,
Agent Orange,
Los Fastidios,
Magazine,
The Pop Group,
Procol Harum,
Eddi Front,
Alphaville,
Fat Boys,
The Blues Magoos,
Magma,
Sandy B,
Liliput,
Archie Shepp,
The Gap Band,
The Cosmic Jokers,
Rhythim Is Rhythim,
F. McDonald,
Lizzy Mercier Descloux,
Zapp,
Richard Hell and the Voidoids,
Sonny Sharrock,
Faust,
Underground Resistance,
Chris Corsano,
Sticky Fingaz feat. Raekwon,
Dead Boys,
The J.B.'s,
Ossler, Ossler, Ossler, Ossler.
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.