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 Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1978.
I'm losing my edge.
To all the kids in Mumbai and Milan.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 Sound Behaviour to the jazz kids.
I played it at the Hacienda.
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 Mandrill. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Funkadelic 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 '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Lower 48,
the Normal,
Isaac Hayes,
Model 500,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Crispian St. Peters,
Neil Young & Crazy Horse,
Dead Boys,
X-101,
Ronan,
Todd Terry,
Electric Prunes,
Moby Grape,
Connie Case,
Aural Exciters,
The Doobie Brothers,
Matthew Bourne,
The Busters,
Glenn Branca,
Nas,
Minutemen,
June of 44,
Girls At Our Best!,
Andrew Ashong & Theo Parrish,
Brothers Johnson,
Johnny Osbourne,
Marvin Gaye,
Throbbing Gristle,
The American Breed,
The Stooges,
Siglo XX,
Wasted Youth,
Soul II Soul,
T. Rex,
Michelle Simonal,
Sun Ra,
Grauzone,
Rod Modell,
Sight & Sound,
Technova,
Soulsonic Force,
K-Klass,
Brass Construction,
Gregory Isaacs,
Rosa Yemen,
Banda Bassotti,
D'Angelo,
Eyeless In Gaza,
La Düsseldorf,
Stiv Bators,
Altered Images,
The Tremeloes,
Robert Hood,
Angry Samoans,
Second Layer,
Sly & The Family Stone,
Camouflage,
Ten City,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.