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 India and from Edmonton.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Stockholm.
I'm losing my edge to the art-school Portland 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 The Blackbyrds to the grime 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 The Skatalites. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Howard Jones,
Gregory Isaacs,
The Fuzztones,
the Slits,
James White and The Blacks,
Second Layer,
48th St. Collective,
Franke,
Q65,
Sight & Sound,
Icehouse,
Sunsets and Hearts,
The Offenders,
Moss Icon,
Hot Snakes,
Jesper Dahlbäck,
Maleditus Sound,
Crispy Ambulance,
It's A Beautiful Day,
The Divine Comedy,
Monolake,
Manfred Mann's Earth Band,
Massinfluence,
Henry Cow,
Sam Rivers,
U.S. Maple,
Bizarre Inc.,
Godley & Creme,
Alice Coltrane,
Easy Going,
Swell Maps,
OOIOO,
Sixth Finger,
Liaisons Dangereuses,
John Foxx,
Captain Beefheart & His Magic Band,
Marc Romboy vs. Booka Shade,
Sexual Harrassment,
The Sonics,
R.M.O.,
Bush Tetras,
Ice-T,
Tim Buckley,
Hasil Adkins,
Groovy Waters,
The Associates,
Gary Puckett & The Union Gap,
Saccharine Trust,
Grandmaster Flash,
Yusef Lateef,
La Düsseldorf,
Lou Reed,
James Chance & The Contortions,
The Trojans,
Al Stewart,
Radio Birdman,
Wally Richardson,
Charles Mingus,
Gong,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.