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 Mozambique and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Manchester 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba 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 Yusef Lateef to the crunk kids.
I played it at the 40 Watt.
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 Selecter. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Terror Squad Feat. Camron,
Deepchord,
Dorothy Ashby,
Joy Division,
Index,
Hot Snakes,
The Jesus and Mary Chain,
Bang on a Can All-Stars,
Peter and Kerry,
Sex Pistols,
Pole,
The Mighty Diamonds,
Matthew Bourne,
Eric Copeland,
Swell Maps,
Röyhkä ja Rättö ja Lehtisalo,
Rotary Connection,
Kayak,
The Count Five,
Kango’s Stein Massive,
Fluxion,
Vladislav Delay,
Sällskapet,
Richard Hell and the Voidoids,
Liaisons Dangereuses,
Crime,
The Stooges,
Moby Grape,
Bobbi Humphrey,
Los Fastidios,
Ajijia Myrayebe,
The Busters,
Jeru the Damaja,
Minnie Riperton,
Royal Trux,
The Gap Band,
B.T. Express,
Lyres,
Cymande,
Duran Duran,
Jerry's Kids,
Underground Resistance,
Graham Central Station,
Johnny Clarke,
The Toasters,
DJ Sneak,
Eric Dolphy,
Amazonics,
Rufus Thomas,
The Move,
Kaleidoscope,
The Happenings,
The Monks,
Organ,
Arab on Radar,
Lebanon Hanover,
Stereo Dub,
Pete Rock & C.L. Smooth,
Saccharine Trust,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.