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 Burkina and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Spokane 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 Kool Moe Dee to the jazz kids.
I played it at the Roxy.
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 David Bowie. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Sparks 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel 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?
Deepchord,
the Fania All-Stars,
Donald Byrd,
Dead Boys,
The Walker Brothers,
Gichy Dan,
Grauzone,
James White and The Blacks,
Todd Terry,
Severed Heads,
Hardrive,
Lizzy Mercier Descloux,
James Chance & The Contortions,
EPMD,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Cameo,
Michelle Simonal,
Marc Romboy vs. Booka Shade,
Fluxion,
Ossler,
Davy DMX,
Soul II Soul,
In Retrospect,
The Velvet Underground,
Masters at Work,
Underground Resistance,
Joyce Sims,
Brothers Johnson,
Robert Görl,
The Dave Clark Five,
Marcia Griffiths,
Supertramp,
Quadrant,
Selector Dub Narcotic,
Marc Almond,
Pharoah Sanders,
Nas,
Crime,
Technova,
Tomorrow,
The Litter,
Cheater Slicks,
Ultra Naté,
Bobbi Humphrey,
Outsiders,
Godley & Creme,
Teenage Jesus and the Jerks,
Khruangbin,
Isaac Hayes,
Gang Starr,
U.S. Maple,
Sonic Youth,
Barclay James Harvest,
Young Marble Giants,
Electric Prunes,
The Neon Judgement,
Fifty Foot Hose,
Duran Duran,
Magma,
The Pop Group,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.