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 Sao Paulo.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school New York 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Drive Like Jehu to the jazz 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 Archie Shepp. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Jesper Dahlback,
Kerrie Biddell,
Eric B and Rakim,
Ultravox,
Robert Wyatt,
KRS-One,
Unwound,
X-102,
Ice-T,
Pharaoh Sanders and the Fire Engines,
Grandmaster Flash and the Furious Five,
Pussy Galore,
Thompson Twins,
Niagra,
Fat Boys,
Urselle,
Wighnomy Brothers & Robag Wruhme,
The Doobie Brothers,
Piero Umiliani,
Silicon Teens,
Camouflage,
Audionom,
Lebanon Hanover,
The Index,
Moby Grape,
Pantaleimon,
Eve St. Jones,
The Skatalites,
Vaughan Mason & Crew,
Blake Baxter,
Dawn Penn,
Q and Not U,
The Star Department,
Trumans Water,
Black Sheep,
Brick,
Monks,
Harpers Bizarre,
Circle Jerks,
Echospace,
The Evens,
Arcadia,
Harry Pussy,
Tom Boy,
Ash Ra Tempel,
Chris & Cosey,
Howard Jones,
Notorious BIG live in Amsterdam,
LL Cool J,
Crash Course in Science,
The American Breed,
Mars,
Depeche Mode,
Second Layer,
New Order,
Accadde A,
Toni Rubio,
The Selecter,
Livin' Joy,
Jimmy McGriff,
Kevin Saunderson,
Dorothy Ashby,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.