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 Bahrain and from Lyon.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Bologna and Paris.
I'm losing my edge to the art-school Johannesburg 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 Buzzcocks practice in a loft in Bolton.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Deepchord to the crunk kids.
I played it at Cafe Wha.
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 Soulsonic Force. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Cheater Slicks 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 '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
L. Decosne,
Nick Cave & The Bad Seeds,
Robert Görl,
Kerri Chandler,
Erasure,
Radiohead,
Bizarre Inc.,
London Community Gospel Choir,
Eric Dolphy,
X-102,
Glenn Branca,
Depeche Mode,
the Bar-Kays,
The West Coast Pop Art Experimental Band,
Nico,
Scrapy,
Barclay James Harvest,
DeepChord presents Echospace,
Sällskapet,
Yusef Lateef,
Howard Jones,
Rapeman,
Massinfluence,
Suburban Knight,
Terry Callier,
Gabor Szabo,
The Cosmic Jokers,
Gang Starr,
The Detroit Cobras,
Can,
Ronan,
Ornette Coleman,
Be Bop Deluxe,
the Normal,
Second Layer,
Ken Boothe,
Tomorrow,
Jerry Gold Smith,
Ultra Naté,
Outsiders,
Joensuu 1685,
Little Man,
The Angels of Light,
Louis and Bebe Barron,
Robert Wyatt,
Nils Olav,
Lindisfarne,
Pagans,
Jesper Dahlback,
The Fuzztones,
Unrelated Segments,
Wings,
Livin' Joy,
Shuggie Otis,
The Young Rascals,
Youth Brigade,
Urselle,
Nation of Ulysses,
Dorothy Ashby,
The Offenders,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.