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 Argentina and from Columbus.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Bologna and Glasgow.
I'm losing my edge to the art-school Cairo 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 Michael McDonald 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 Andrew Hill to the techno kids.
I played it at the 40 Watt.
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 L. Decosne. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Lindisfarne 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
U.S. Maple,
ABBA,
Swell Maps,
Royal Trux,
Bang on a Can All-Stars,
Tomorrow,
Ken Boothe,
Lucky Dragons,
Morten Harket,
The Fire Engines,
The Mighty Diamonds,
Y Pants,
Gregory Isaacs,
Thinking Fellers Union Local 282,
Magazine,
Soft Cell,
The Sound,
Rites of Spring,
Drexciya,
Lou Reed & Metallica,
Gang Green,
Peter and Kerry,
Gerry Rafferty,
Selector Dub Narcotic,
The West Coast Pop Art Experimental Band,
Accadde A,
Sam Rivers,
Boredoms,
Crash Course in Science,
DNA,
Ultimate Spinach,
Lindisfarne,
David Axelrod,
The Electric Prunes,
Barbara Tucker,
Mantronix,
Neil Young,
Ajijia Myrayebe,
Outsiders,
Ludus,
Spandau Ballet,
The Velvet Underground,
The Count Five,
The Standells,
D'Angelo,
Swans,
Section 25,
Supertramp,
Cymande,
Index,
Quadrant,
Minor Threat,
Average White Band,
Porter Ricks,
Gang Starr,
Sarah Menescal,
The Five Americans,
Lalann,
Warren Ellis,
Bootsy's Rubber Band,
Siglo XX,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.