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 Tonga and from Paris.
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 Seoul and Bologna.
I'm losing my edge to the art-school Bremen 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 oboe sounds with much patience.
I was there when David Bowie 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 Sonny Sharrock to the grime 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 Visage. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every the Sonics 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Mars,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Todd Terry,
Newcleus,
the Swans,
Lalo Schifrin,
Rotary Connection,
June of 44,
Joe Finger,
David Axelrod,
Magazine,
Negative Approach,
Peter and Kerry,
Fear,
Janne Schatter,
The Seeds,
The Count Five,
Bill Wells,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cameo,
Man Eating Sloth,
Bobby Byrd,
Bang On A Can,
The Dirtbombs,
The Knickerbockers,
Young Marble Giants,
Alphaville,
Rapeman,
The United States of America,
Judy Mowatt,
Crispy Ambulance,
Scott Walker,
Model 500,
Letta Mbulu,
In Retrospect,
Quando Quango,
Boz Scaggs,
The Black Dice,
Joe Smooth,
Tim Buckley,
The J.B.'s,
Rhythm & Sound,
Jawbox,
Pharaoh Sanders and the Fire Engines,
Rites of Spring,
Gang Starr,
Robert Hood,
The Pop Group,
The Remains,
Brass Construction,
Guru Guru,
Flamin' Groovies,
Masters at Work,
Desert Stars,
R.M.O.,
Lucky Dragons,
Bootsy Collins,
Accadde A,
Susan Cadogan,
Tom Boy,
Gil Scott-Heron and Jamie xx,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.