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 Bangladesh and from Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Columbus 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 Sällskapet to the crunk kids.
I played it at the Astoria.
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 Flesh Eaters. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every The Remains 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Suicide,
Pete Rock & C.L. Smooth,
Ultravox,
Panda Bear,
The Doors,
The Mighty Diamonds,
Sparks,
Bronski Beat,
R.M.O.,
Scan 7,
The Barracudas,
The Beau Brummels,
Soft Machine,
Kenny Larkin,
The Standells,
The Gories,
Average White Band,
DeepChord presents Echospace,
Yellowson,
The Mojo Men,
Funkadelic,
Cabaret Voltaire,
UT,
Joe Smooth,
Circle Jerks,
Skarface,
Darondo,
Visage,
Gil Scott-Heron and Jamie xx,
Cluster,
Deutsch Amerikanische Freundschaft,
Marshall Jefferson,
Byron Stingily,
Wolf Eyes,
The American Breed,
Orchestral Manoeuvres in the Dark,
Fat Boys,
Joey Negro,
Marvin Gaye,
X-101,
Gong,
The Moody Blues,
Grauzone,
The Dead C,
Gian Franco Pienzio,
Scion,
Joe Finger,
John Holt,
Jerry's Kids,
Fluxion,
Nas,
Ash Ra Tempel,
Pet Shop Boys,
Spoonie Gee,
Kango’s Stein Massive,
Bluetip,
Delta 5,
Sonny Sharrock,
Piero Umiliani,
Angry Samoans,
Bill Near, Bill Near, Bill Near, Bill Near.
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.