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 Uzbekistan and from Delhi.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Mumbai 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 guitar 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 X-102 to the dance kids.
I played it at Cafe Wha.
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 Jacques Brel. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal grime 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 oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Black Bananas,
Kayak,
Larry & the Blue Notes,
Mars,
Lalann,
Leonard Cohen,
Black Moon,
Desert Stars,
The Wake,
The Associates,
Rowland S Howard / Lydia Lunch,
Derrick May,
Deutsch Amerikanische Freundschaft,
Bang on a Can All-Stars,
Drexciya,
Curtis Mayfield,
Gabor Szabo,
The Angels of Light,
Interpol,
Magma,
Porter Ricks,
Toni Rubio,
DNA,
Wasted Youth,
The Litter,
Lalo Schifrin,
Gil Scott-Heron & Brian Jackson,
Donny Hathaway,
Monks,
U.S. Maple,
Grandmaster Flash and the Furious Five,
Absolute Body Control,
Alice Coltrane,
The Divine Comedy,
The Searchers,
UT,
Johnny Clarke,
Mandrill,
Marmalade,
Cabaret Voltaire,
Roy Ayers,
PIL,
Spandau Ballet,
Barbara Tucker,
Stockholm Monsters,
Essential Logic,
Selector Dub Narcotic,
The Young Rascals,
Yusef Lateef,
Thee Headcoats,
The Pretty Things,
The Smoke,
Hoover,
Jandek,
Robert Wyatt,
June of 44,
The Victims,
Pantaleimon,
Cameo,
Don Cherry,
Agitation Free,
Little Man, Little Man, Little Man, Little Man.
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.