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 Afghanistan and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1974.
I'm losing my edge.
To all the kids in Beijing and New York.
I'm losing my edge to the art-school Lyon 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 arpeggiator 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 Kurtis Blow to the grunge kids.
I played it at the Crocodile.
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 The Martian. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Tomorrow,
Lizzy Mercier Descloux,
Smog,
Subhumans,
Desert Stars,
Gil Scott Heron,
Scrapy,
Dawn Penn,
World's Most,
Rahsaan Roland Kirk,
Howard Jones,
the Germs,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rufus Thomas,
Bobby Hutcherson,
Robert Wyatt,
Rowland S Howard / Lydia Lunch,
John Coltrane,
Sexual Harrassment,
Soft Cell,
The Young Rascals,
Steve Hackett,
Fluxion,
The Index,
Gang Gang Dance,
Johnny Clarke,
Bootsy's Rubber Band,
Donald Byrd,
Brand Nubian,
The American Breed,
48th St. Collective,
JFA,
Sugar Minott,
Soul II Soul,
John Foxx,
Larry & the Blue Notes,
Magazine,
The Pop Group,
Kango’s Stein Massive,
Ash Ra Tempel,
De La Soul & Jungle Brothers,
Todd Terry,
Sonic Youth,
Pere Ubu,
Erykah Badu,
The Skatalites,
Scan 7,
Procol Harum,
Country Joe & The Fish,
Soft Machine,
Roxette,
Khruangbin,
The Mighty Diamonds,
Mission of Burma,
LL Cool J,
Grandmaster Flash and the Furious Five,
Jerry's Kids,
Morten Harket,
Deutsch Amerikanische Freundschaft,
Gang Starr,
Swell Maps,
Slave, Slave, Slave, Slave.
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.