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 Malawi and from Hong Kong.
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 1969 to 1971.
I'm losing my edge.
To all the kids in New York and Lyon.
I'm losing my edge to the art-school Toronto 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet 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 Soulsonic Force to the dance kids.
I played it at the Hacienda.
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 Ash Ra Tempel. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Robert Wyatt,
Skaos,
Teenage Jesus and the Jerks,
Liliput,
Liaisons Dangereuses,
The Birthday Party,
The Techniques,
Ronnie Foster,
Roy Ayers Ubiquity,
Jesper Dahlbäck,
Average White Band,
Amazonics,
Marmalade,
Pharaoh Sanders and the Fire Engines,
Sun City Girls,
Sex Pistols,
Roxy Music,
Donald Byrd,
Q and Not U,
Lou Reed & John Cale,
Main Source,
Major Organ And The Adding Machine,
Tom Boy,
Chrome,
Ronan,
Selector Dub Narcotic,
L. Decosne,
8 Eyed Spy,
JFA,
Joyce Sims,
Loose Ends,
New Order,
Bronski Beat,
Lalo Schifrin,
Dark Day,
The Red Krayola,
The Zeros,
Rotary Connection,
Hashim,
The Real Kids,
Marine Girls,
Eric B and Rakim,
Crispian St. Peters,
Susan Cadogan,
The Pop Group,
Connie Case,
The Wake,
Goldenarms,
Shuggie Otis,
Grey Daturas,
Chris & Cosey,
Alice Coltrane,
Patti Smith,
Pulsallama,
Theoretical Girls,
Aaron Thompson,
AZ,
Archie Shepp,
Make Up,
Mark Hollis,
Robert Hood,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.