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 Solomon Islands and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Edmonton.
I'm losing my edge to the art-school Columbus 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the clarinet 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 John Coltrane to the funk kids.
I played it at CBGB's.
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 The Offenders. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Niagra record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Gregory Isaacs,
The Buckinghams,
Symarip,
Average White Band,
Nation of Ulysses,
Oppenheimer Analysis,
The Slackers,
Suburban Knight,
Man Parrish,
Sam Rivers,
Captain Beefheart & His Magic Band,
Bobby Womack,
Scan 7,
June of 44,
Intrusion,
Adolescents,
the Germs,
The Smiths,
Erasure,
Mad Mike,
Bob Dylan,
Kerri Chandler,
Public Image Ltd.,
Yaz,
Spandau Ballet,
Justin Hinds & The Dominoes,
Art Ensemble Of Chicago,
Cabaret Voltaire,
Pagans,
Tropical Tobacco,
Q and Not U,
Roy Ayers Ubiquity,
Franke,
Pylon,
Lou Reed & Metallica,
Bootsy Collins,
Susan Cadogan,
Matthew Halsall,
June Days,
Magazine,
This Heat,
Robert Görl,
Colin Newman,
Nik Kershaw,
The Sonics,
A Certain Ratio,
Swell Maps,
Black Pus,
Gil Scott-Heron and Jamie xx,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hardrive,
H. Thieme,
Alton Ellis,
London Community Gospel Choir,
The Blackbyrds,
Procol Harum,
X-101,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.