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 Pakistan and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1962 to 1974.
I'm losing my edge.
To all the kids in Seoul and Cairo.
I'm losing my edge to the art-school Mumbai 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Underground Resistance to the grunge 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 Youth Brigade. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Siouxsie and the Banshees,
Eve St. Jones,
Byron Stingily,
The Detroit Cobras,
Masters at Work,
Joey Negro,
Jerry Gold Smith,
Lightning Bolt,
Charles Mingus,
Black Sheep,
Alison Limerick,
Aaron Thompson,
Scientists,
Grandmaster Flash and the Furious Five,
The Invisible,
Black Flag,
K-Klass,
Johnny Osbourne,
Michelle Simonal,
Theoretical Girls,
Tres Demented,
The Techniques,
Grey Daturas,
Graham Central Station,
David McCallum,
The Slackers,
Rosa Yemen,
Lou Reed & John Cale,
Funky Four + One,
Deadbeat,
Glambeats Corp.,
Los Fastidios,
Dark Day,
Gil Scott Heron,
L. Decosne,
Symarip,
Thinking Fellers Union Local 282,
Ken Boothe,
Gary Puckett & The Union Gap,
Wally Richardson,
Sun City Girls,
New Order,
John Holt,
Andrew Hill,
Dawn Penn,
The Fortunes,
The Sound,
Strawberry Alarm Clock,
Bill Wells,
Von Mondo,
The Smoke,
Fort Wilson Riot,
Monks,
Gil Scott-Heron and Jamie xx,
The Buckinghams,
Kauko Röyhkä ja Narttu,
Rahsaan Roland Kirk,
Organ,
Roxette,
Ten City,
Traffic Nightmare,
Lucky Dragons,
Cybotron, Cybotron, Cybotron, Cybotron.
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.