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 Tuvalu and from Halifax.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Jakarta.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe 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 Amazonics to the rock kids.
I played it at CBGB's.
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 Eric Copeland. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every The Chocolate Watch Band 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 '80s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Q and Not U,
Quando Quango,
Louis and Bebe Barron,
New Order,
Bootsy Collins,
Sunsets and Hearts,
kango's stein massive,
Dark Day,
Brick,
Alison Limerick,
Alphaville,
Minor Threat,
Scrapy,
Deadbeat,
Dead Boys,
The West Coast Pop Art Experimental Band,
The Move,
Surgeon,
Lyres,
The Moody Blues,
Roxy Music,
Chris & Cosey,
Ice-T,
London Community Gospel Choir,
Vladislav Delay,
Sound Behaviour,
Chris Corsano,
Oppenheimer Analysis,
FM Einheit,
Jesper Dahlbäck,
Parry Music,
Henry Cow,
Rowland S Howard / Lydia Lunch,
Fluxion,
Colin Newman,
Blossom Toes,
Theoretical Girls,
Ralphi Rosario,
Fort Wilson Riot,
June of 44,
Visionaries,LMNO, T- Love & Iriscience,
The Count Five,
Kool Moe Dee,
Pagans,
Lou Christie,
Alice Coltrane,
T.S.O.L.,
Charles Mingus,
Radiohead,
DJ Style,
Shuggie Otis,
Joe Finger,
Cecil Taylor,
The Men They Couldn't Hang,
Gong,
The Young Rascals,
Isaac Hayes,
Lakeside,
Cymande,
Los Fastidios,
Angels of Light & Akron/Family,
the Fania All-Stars,
Basic Channel,
Minutemen, Minutemen, Minutemen, Minutemen.
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.