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 San Marino and from Manila.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1977.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe 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 Andrew Hill to the electroclash kids.
I played it at the Roxy.
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 Masters at Work. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your organ and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
The Count Five,
Nas,
The United States of America,
Kevin Saunderson,
The Vogues,
Howard Jones,
Ituana,
Gregory Isaacs,
Delon & Dalcan,
Icehouse,
Young Marble Giants,
Gang of Four,
Grey Daturas,
Newcleus,
Pete Rock & C.L. Smooth,
Cabaret Voltaire,
Lebanon Hanover,
Bang on a Can All-Stars,
Lou Reed & John Cale,
Funkadelic,
Bobby Womack,
The Victims,
Schoolly D,
New York Dolls,
Fela Kuti,
Ten City,
Aloha Tigers,
the Association,
It's A Beautiful Day,
Television Personalities,
Robert Hood,
Little Man,
Jimmy McGriff,
The Litter,
Bobbi Humphrey,
Whodini,
Yaz,
Wolf Eyes,
Pole,
Bob Dylan,
Lakeside,
Lizzy Mercier Descloux,
Duran Duran,
Hashim,
Hasil Adkins,
Gong,
Rufus Thomas,
Ornette Coleman,
Arthur Verocai,
The Barracudas,
Godley & Creme,
Swell Maps,
Orchestral Manoeuvres in the Dark,
Robert Wyatt,
The Blackbyrds,
Visionaries,LMNO, T- Love & Iriscience,
Oneida,
Metal Thangz,
DJ Sneak,
Pagans,
Panda Bear,
The Residents,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.