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 Singapore and from London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school New York 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the theremin 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 The Cowsills to the rap 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 Derrick May. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Larry & the Blue Notes,
Toni Rubio,
Rapeman,
Siouxsie and the Banshees,
Spandau Ballet,
Gang Green,
Isaac Hayes,
Hasil Adkins,
Cecil Taylor,
Big Daddy Kane,
Ornette Coleman,
Adolescents,
The Knickerbockers,
Nik Kershaw,
Echospace,
Visionaries,LMNO, T- Love & Iriscience,
Crispian St. Peters,
Strawberry Alarm Clock,
Beasts of Bourbon,
Donald Byrd,
Andrew Ashong & Theo Parrish,
Sex Pistols,
Young Marble Giants,
The Human League,
Pantytec,
Aloha Tigers,
The Alarm Clocks,
Main Source,
James Chance & The Contortions,
The Fortunes,
Kool G Rap & DJ Polo,
Black Sheep,
Crime,
These Immortal Souls,
The Tremeloes,
Eyeless In Gaza,
Ronan,
U.S. Maple,
Con Funk Shun,
Mandrill,
The Sonics,
Gregory Isaacs,
The Seeds,
Barclay James Harvest,
Depeche Mode,
The Searchers,
B.T. Express,
the Germs,
Lakeside,
X-102,
Avey Tare & Kría Brekkan,
The Slackers,
Derrick Morgan,
The Skatalites,
DJ Sneak,
Unwound,
the Human League,
Terrestrial Tones,
Lou Reed & Metallica,
Surgeon,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.