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 France and from Woodstock.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1973.
I'm losing my edge.
To all the kids in Hong Kong and Seoul.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ sounds with much patience.
I was there when Nile Rodgers 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 Interpol to the grime 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 Bad Manners. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Masters at Work,
Donny Hathaway,
The Fire Engines,
Bizarre Inc.,
Joey Negro,
the Sonics,
KRS-One,
Gang Green,
the Fania All-Stars,
LL Cool J,
The Smoke,
Yaz,
Nik Kershaw,
the Normal,
Henry Cow,
Yellowson,
Lee Hazlewood,
Wolf Eyes,
Gil Scott-Heron and Jamie xx,
Dark Day,
Supertramp,
Kerrie Biddell,
Black Flag,
Captain Beefheart & His Magic Band,
Mandrill,
Spandau Ballet,
Pantytec,
Radiohead,
Angels of Light & Akron/Family,
Alison Limerick,
Average White Band,
Pet Shop Boys,
Gang Gang Dance,
Barbara Tucker,
Visage,
Fluxion,
Erasure,
Magazine,
The Detroit Cobras,
Tears for Fears,
Funky Four + One,
Black Moon,
Jerry Gold Smith,
Con Funk Shun,
Red Lorry Yellow Lorry,
Inner City,
Rekid,
Jesper Dahlback,
Lower 48,
Avey Tare & Kría Brekkan,
Kenny Larkin,
James White and The Blacks,
Aural Exciters,
Bob Dylan,
Shuggie Otis,
a-ha,
Chrome,
Bang on a Can All-Stars,
The J.B.'s,
Moebius,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.