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 Niger and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Lille and Delhi.
I'm losing my edge to the art-school Winnipeg 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 marimba 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 Don Cherry to the disco kids.
I played it at the Astoria.
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 Idris Muhammad. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal dance 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 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Cure record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
New York Dolls,
The Happenings,
Davy DMX,
The Sound,
World's Most,
Maurizio,
Bill Near,
Marmalade,
Dorothy Ashby,
John Coltrane,
the Normal,
Ice-T,
Lebanon Hanover,
T.S.O.L.,
Terrestrial Tones,
Kings Of Tomorrow,
Tropical Tobacco,
Y Pants,
Magma,
Glambeats Corp.,
FM Einheit,
Gichy Dan,
Albert Ayler,
Flamin' Groovies,
Robert Hood,
Funky Four + One,
Quando Quango,
Colin Newman,
Swell Maps,
Bizarre Inc.,
Orchestral Manoeuvres in the Dark,
Derrick Morgan,
The Cowsills,
Monolake,
The Saints,
Procol Harum,
Manfred Mann's Earth Band,
Jeff Mills,
Loose Ends,
Yellowson,
Leonard Cohen,
Bobby Sherman,
Robert Wyatt,
Max Romeo,
Janne Schatter,
Metal Thangz,
The Smiths,
Susan Cadogan,
Crispian St. Peters,
The Fuzztones,
Brand Nubian,
Lou Reed & John Cale,
Scion,
Royal Trux,
Basic Channel,
Mad Mike,
The J.B.'s,
China Crisis,
Popol Vuh,
Index,
Mark Hollis,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.