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 Congo and from Lille.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Accra and Accra.
I'm losing my edge to the art-school Salvador 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba 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 Jesper Dahlback to the rap kids.
I played it at the Astoria.
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 Kurtis Blow. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The United States of America,
The Doors,
Magazine,
Pierre Henry,
Althea and Donna,
Lou Reed & Metallica,
DJ Style,
Absolute Body Control,
Cecil Taylor,
Gang of Four,
Radiohead,
Art Ensemble Of Chicago,
Louis and Bebe Barron,
Major Organ And The Adding Machine,
Wings,
Prince Buster,
Sly & The Family Stone,
The Knickerbockers,
X-102,
10cc,
The Slits,
World's Most,
Half Japanese,
Section 25,
Reuben Wilson,
The Fire Engines,
The Durutti Column,
The Dave Clark Five,
Swell Maps,
The Cowsills,
Ronan,
Sexual Harrassment,
The Seeds,
Max Romeo,
The Angels of Light,
Fela Kuti,
Joensuu 1685,
UT,
Moby Grape,
Easy Going,
The American Breed,
T.S.O.L.,
Lyres,
Terror Squad Feat. Camron,
Accadde A,
Manfred Mann's Earth Band,
Yellowson,
the Sonics,
Dual Sessions,
a-ha,
The Evens,
Amon Düül,
Mission of Burma,
Motorama,
Alice Coltrane,
Chris Corsano,
Traffic Nightmare,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
A Flock of Seagulls,
Grandmaster Flash and the Furious Five,
Rosa Yemen,
Newcleus,
Model 500,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.