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 Tonga and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Tokyo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Colin Newman to the jazz kids.
I played it at Cafe Wha.
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 Gang of Four. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Slits 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?
Avey Tare & Kría Brekkan,
Barclay James Harvest,
The Electric Prunes,
MC5,
Technova,
Yusef Lateef,
Ultimate Spinach,
Desert Stars,
Yaz,
The Seeds,
Minor Threat,
Pierre Henry,
Henry Cow,
Faraquet,
John Cale,
Wasted Youth,
The Jesus and Mary Chain,
Curtis Mayfield,
Bang On A Can,
Delta 5,
The Associates,
Eurythmics,
The Count Five,
Gary Puckett & The Union Gap,
Röyhkä ja Rättö ja Lehtisalo,
Can,
Cluster,
The Fugs,
Donny Hathaway,
10cc,
The Smoke,
Quadrant,
Fela Kuti,
Sly & The Family Stone,
Charles Mingus,
The Fall,
Black Moon,
Pulsallama,
Interpol,
Black Sheep,
This Heat,
The Mighty Diamonds,
Faust,
the Soft Cell,
Mandrill,
Notorious BIG live in Amsterdam,
Anthony Braxton,
The Sonics,
F. McDonald,
Nick Cave & The Bad Seeds,
Wolf Eyes,
The Young Rascals,
The Men They Couldn't Hang,
Young Marble Giants,
Barrington Levy,
The Martian,
Subhumans,
London Community Gospel Choir,
Peter and Kerry,
Arcadia,
The Victims,
Jeru the Damaja,
The Selecter, The Selecter, The Selecter, The Selecter.
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.