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 Niger and from Paris.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Toronto and Jakarta.
I'm losing my edge to the art-school Copenhagen 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 Chic practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Nation of Ulysses to the rap kids.
I played it at the Roxy.
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 Bill Wells. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Kerri Chandler record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Sound Behaviour,
Bad Manners,
Gil Scott Heron,
Supertramp,
Silicon Teens,
Pylon,
Lyres,
Television,
Maleditus Sound,
The Angels of Light,
Camouflage,
Scrapy,
Gregory Isaacs,
Eric Dolphy,
Althea and Donna,
In Retrospect,
London Community Gospel Choir,
Bizarre Inc.,
Bob Dylan,
Sex Pistols,
Clear Light,
Eurythmics,
Smog,
The Dirtbombs,
The Men They Couldn't Hang,
Cameo,
Half Japanese,
The Cosmic Jokers,
Avey Tare's Slasher Flicks,
Babytalk,
Eric B and Rakim,
Sunsets and Hearts,
PIL,
Boredoms,
The Real Kids,
The Martian,
The Dave Clark Five,
Robert Wyatt,
Barclay James Harvest,
Stetsasonic,
Letta Mbulu,
Echo & the Bunnymen,
Electric Light Orchestra,
Bill Wells,
Bobby Womack,
B.T. Express,
Dorothy Ashby,
The Red Krayola,
Inner City,
Mantronix,
Peter and Kerry,
The Fugs,
The Remains,
Rufus Thomas,
Rekid,
Audionom,
Sarah Menescal,
Donald Byrd,
Gil Scott-Heron and Jamie xx,
LL Cool J,
Gong,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.