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 France and from Houston.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Houston and Cairo.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Inner City to the dance 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 John Cale. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Alton Ellis,
The Shadows of Knight,
Erykah Badu,
Joensuu 1685,
The Neon Judgement,
Andrew Hill,
Desert Stars,
The Skatalites,
John Holt,
The Barracudas,
Eric Dolphy,
Jawbox,
The Trojans,
The Beau Brummels,
Louis and Bebe Barron,
Barrington Levy,
Marshall Jefferson,
Scott Walker,
Tears for Fears,
Letta Mbulu,
the Sonics,
Ash Ra Tempel,
The Selecter,
The Invisible,
Lafayette Afro Rock Band,
Tom Boy,
X-102,
Aaron Thompson,
Cameo,
World's Most,
The Men They Couldn't Hang,
Avey Tare & Kría Brekkan,
Kauko Röyhkä ja Narttu,
EPMD,
Young Marble Giants,
The New Christs,
Charles Mingus,
Alice Coltrane,
Aswad,
The Fire Engines,
Marc Romboy vs. Booka Shade,
Yusef Lateef,
Barclay James Harvest,
Byron Stingily,
Arab on Radar,
The Move,
Urselle,
Zapp,
Sun Ra Arkestra,
Big Daddy Kane,
48th St. Collective,
The Walker Brothers,
Cabaret Voltaire,
Hoover,
Lebanon Hanover,
Crooked Eye,
Arthur Verocai,
Traffic Nightmare,
Notorious Big And Bone Thugs,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.