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 Tunisia and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Calgary and Taipei.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord 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 Niagra to the crunk kids.
I played it at the Spitz.
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 Maurizio. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
The Skatalites,
Scott Walker,
Thompson Twins,
Andrew Ashong & Theo Parrish,
Arthur Verocai,
The Detroit Cobras,
D'Angelo,
Nico,
The Gap Band,
Tim Buckley,
Mo-Dettes,
K-Klass,
Vladislav Delay,
Babytalk,
Pete Rock & C.L. Smooth,
Peter and Kerry,
Camouflage,
Skaos,
Flash Fearless,
Jeff Lynne,
Au Pairs,
Sonic Youth,
Lebanon Hanover,
Michelle Simonal,
Soft Machine,
Boogie Down Productions,
The Saints,
Byron Stingily,
The Dirtbombs,
Red Lorry Yellow Lorry,
Sandy B,
Soul II Soul,
David McCallum,
CMW,
Joe Finger,
Lindisfarne,
The Seeds,
Youth Brigade,
Depeche Mode,
Kool Moe Dee,
Buzzcocks,
Oppenheimer Analysis,
Black Flag,
John Foxx,
Grey Daturas,
FM Einheit,
Hasil Adkins,
Echospace,
Main Source,
Nils Olav,
Stetsasonic,
Jawbox,
Jeff Mills,
The Velvet Underground,
U.S. Maple,
Guru Guru,
The Golliwogs,
Gil Scott-Heron and Jamie xx,
The Cramps,
The Fire Engines,
48th St. Collective,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.