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 Uzbekistan and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Taipei.
I'm losing my edge to the art-school Mumbai 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 1971 at the first Selda practice in a loft in Istanbul.
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 Boz Scaggs to the jazz 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 Barbara Tucker. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Don Cherry record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
DNA,
PIL,
Kango’s Stein Massive,
Rakim,
10cc,
The Velvet Underground,
This Heat,
The Motions,
Marshall Jefferson,
Captain Beefheart & His Magic Band,
Orchestral Manoeuvres in the Dark,
Sad Lovers and Giants,
Outsiders,
Crash Course in Science,
Reuben Wilson,
Wings,
Danielle Patucci,
A Certain Ratio,
Tres Demented,
Fluxion,
Sonic Youth,
The Techniques,
Sexual Harrassment,
Dave Gahan,
Girls At Our Best!,
Echospace,
Gong,
Derrick Morgan,
Mr. Review,
Man Parrish,
Gary Puckett & The Union Gap,
Little Man,
Ultra Naté,
Avey Tare's Slasher Flicks,
Harpers Bizarre,
Erasure,
The United States of America,
Neil Young & Crazy Horse,
Byron Stingily,
Bauhaus,
Eric B and Rakim,
The Fuzztones,
the Fania All-Stars,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bizarre Inc.,
Metal Thangz,
Urselle,
Mary Jane Girls,
The Durutti Column,
Gang Green,
Television Personalities,
Wolf Eyes,
Animal Collective,
Charles Mingus,
June Days,
Second Layer,
Joe Finger,
China Crisis,
The Count Five,
Michelle Simonal,
Alton Ellis,
Todd Terry,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.