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 Norway and from Spokane.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Manila and London.
I'm losing my edge to the art-school Shanghai 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 808 sounds with much patience.
I was there when Robert Palmer 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 Albert Ayler to the crunk 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 James Chance & The Contortions. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Marine Girls 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Kas Product,
Porter Ricks,
Neu!,
Oblivians,
The Sound,
Bluetip,
Jimmy McGriff,
Eurythmics,
8 Eyed Spy,
KRS-One,
Mary Jane Girls,
Gabor Szabo,
JFA,
Jawbox,
The Gories,
Traffic Nightmare,
Sonic Youth,
A Certain Ratio,
Dual Sessions,
Gil Scott Heron,
Suburban Knight,
Yusef Lateef,
Lakeside,
Ronnie Foster,
The Evens,
Organ,
Joe Finger,
The Motions,
Aural Exciters,
Ultravox,
Ponytail,
Steve Hackett,
Sun Ra Arkestra,
the Swans,
Adolescents,
Bad Manners,
Selector Dub Narcotic,
Gil Scott-Heron & Brian Jackson,
The Vogues,
Albert Ayler,
Amon Düül,
Mark Hollis,
Electric Prunes,
Das Ding,
Jesper Dahlback,
James White and The Blacks,
Technova,
Funky Four + One,
Black Moon,
Visage,
the Germs,
Scott Walker,
The Pretty Things,
the Fania All-Stars,
Mo-Dettes,
K-Klass,
Roy Ayers,
Gerry Rafferty,
Nation of Ulysses,
The Blackbyrds,
Dr. Dre and Snoop Doggy Dog,
R.M.O.,
Bang on a Can All-Stars,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.