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 Qatar and from Glasgow.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Manila and Salvador.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the clarinet sounds with much patience.
I was there when David Bowie 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 Alice Coltrane to the grunge kids.
I played it at the Troubador.
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 Monochrome Set. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Bobby Byrd 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Los Fastidios,
Clear Light,
U.S. Maple,
Godley & Creme,
Pulsallama,
Gichy Dan,
Sunsets and Hearts,
Pete Rock & C.L. Smooth,
Eric Dolphy,
Robert Hood,
Pere Ubu,
Hashim,
Supertramp,
Jandek,
The Gap Band,
Radiopuhelimet,
Lakeside,
Vladislav Delay,
Sound Behaviour,
Jeff Lynne,
Pantaleimon,
Gabor Szabo,
Joyce Sims,
Half Japanese,
The Dead C,
The Music Machine,
Swans,
Brass Construction,
The Angels of Light,
Minny Pops,
The Pretty Things,
Von Mondo,
Bluetip,
Dark Day,
These Immortal Souls,
Altered Images,
Alison Limerick,
Louis and Bebe Barron,
Ralphi Rosario,
Bizarre Inc.,
Aural Exciters,
Nirvana,
David Axelrod,
Morten Harket,
Scan 7,
The Grass Roots,
Cecil Taylor,
Electric Prunes,
The Residents,
Ultramagnetic MC's,
Rekid,
Sugar Minott,
Mark Hollis,
Sad Lovers and Giants,
Orchestral Manoeuvres in the Dark,
John Holt,
Joensuu 1685,
Crispy Ambulance,
Rahsaan Roland Kirk,
Man Parrish,
Blossom Toes,
Marmalade, Marmalade, Marmalade, Marmalade.
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.