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 Tajikistan and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Woodstock and Manchester.
I'm losing my edge to the art-school London 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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Johnny Clarke to the funk kids.
I played it at the Hacienda.
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 Blake Baxter. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
U.S. Maple,
Sandy B,
Dawn Penn,
Organ,
Iggy Pop,
Mr. Review,
Andrew Hill,
Theoretical Girls,
Flipper,
The Zeros,
Average White Band,
Vaughan Mason & Crew,
The American Breed,
The Residents,
The Last Poets,
Kurtis Blow,
Simply Red,
Howard Jones,
The Pretty Things,
Gregory Isaacs,
The Blues Magoos,
Dr. Dre and Snoop Doggy Dog,
Ponytail,
Bauhaus,
Moebius,
Lakeside,
Colin Newman,
Sam Rivers,
World's Most,
L. Decosne,
Camberwell Now,
Andrew Ashong & Theo Parrish,
Tom Boy,
Gabor Szabo,
Electric Prunes,
Lonnie Liston Smith,
Selector Dub Narcotic,
Carl Craig,
The Mummies,
Thinking Fellers Union Local 282,
Stereo Dub,
Mad Mike,
Delon & Dalcan,
Country Joe & The Fish,
Stetsasonic,
Jacob Miller,
Moby Grape,
Be Bop Deluxe,
Avey Tare & Kría Brekkan,
Black Moon,
The Trojans,
Lee Hazlewood,
Marc Almond,
David Axelrod,
Nation of Ulysses,
Pharoah Sanders,
Brick,
Von Mondo,
Fugazi,
Grauzone,
Kerri Chandler,
Kaleidoscope,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.