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 Nigeria and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Manila.
I'm losing my edge to the art-school Stockholm 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 Holger Czukay 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 Dennis Brown to the funk kids.
I played it at the Roxy.
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 Public Image Ltd.. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Graham Central Station 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Saccharine Trust,
Notorious BIG live in Amsterdam,
the Sonics,
Charles Mingus,
Andrew Hill,
Steve Hackett,
Main Source,
Sam Rivers,
DeepChord presents Echospace,
David McCallum,
Chris & Cosey,
Q and Not U,
Flipper,
The Searchers,
Eddi Front,
Country Teasers,
Jesper Dahlbäck,
Second Layer,
Banda Bassotti,
Marshall Jefferson,
The Human League,
Eric Copeland,
Darondo,
Wasted Youth,
Avey Tare,
Piero Umiliani,
Teenage Jesus and the Jerks,
The Dead C,
Stockholm Monsters,
New York Dolls,
Shuggie Otis,
Michelle Simonal,
The Detroit Cobras,
Bobby Byrd,
Fort Wilson Riot,
The Divine Comedy,
Strawberry Alarm Clock,
Trumans Water,
Kayak,
Art Ensemble Of Chicago,
MDC,
The Slackers,
T.S.O.L.,
Maurizio,
Television,
Robert Hood,
Young Marble Giants,
Pagans,
The Invisible,
A Certain Ratio,
Minny Pops,
The Evens,
Girls At Our Best!,
The Neon Judgement,
Sixth Finger,
Rekid,
Kings Of Tomorrow,
Ice-T,
Nik Kershaw,
This Heat,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.