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 Ghana and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 Halifax and Hong Kong.
I'm losing my edge to the art-school Toronto 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 clarinet 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 Barry Ungar to the jazz kids.
I played it at the 40 Watt.
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 Lalo Schifrin. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Anthony Braxton 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
Audionom,
Strawberry Alarm Clock,
Scientists,
The Associates,
John Lydon,
Mars,
Wolf Eyes,
Gary Puckett & The Union Gap,
Accadde A,
Q and Not U,
Porter Ricks,
Quadrant,
Inner City,
Boogie Down Productions,
Cal Tjader,
Ken Boothe,
Gian Franco Pienzio,
Red Lorry Yellow Lorry,
David Axelrod,
Oneida,
U.S. Maple,
The Last Poets,
Soul II Soul,
Johnny Clarke,
June of 44,
Prince Buster,
Larry & the Blue Notes,
Notorious Big And Bone Thugs,
Dorothy Ashby,
The Fortunes,
Jerry Gold Smith,
The Young Rascals,
Lalo Schifrin,
Fat Boys,
Gil Scott-Heron and Jamie xx,
Major Organ And The Adding Machine,
Terror Squad Feat. Camron,
Zero Boys,
Adolescents,
Eli Mardock,
DNA,
Barbara Tucker,
Babytalk,
Trumans Water,
CMW,
The Dirtbombs,
Colin Newman,
The Shadows of Knight,
Pantytec,
Gregory Isaacs,
Harpers Bizarre,
Ituana,
kango's stein massive,
Louis and Bebe Barron,
Grey Daturas,
The Misunderstood,
The Busters,
Moebius,
48th St. Collective,
Popol Vuh,
Cheater Slicks,
John Foxx,
K-Klass, K-Klass, K-Klass, K-Klass.
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.