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 Guyana and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Bologna.
I'm losing my edge to the art-school New York 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 1976 at the first Chic practice in a loft in New York.
I was working on the 808 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 Ken Boothe to the punk 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 Hashim. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
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 Matthew Halsall record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Mark Hollis,
Delta 5,
Vainqueur,
Donald Byrd,
Vaughan Mason & Crew,
John Coltrane,
The Martian,
A Flock of Seagulls,
Television,
Brand Nubian,
Gil Scott Heron,
Wighnomy Brothers & Robag Wruhme,
Albert Ayler,
Soul II Soul,
Thee Headcoats,
Swell Maps,
The Last Poets,
Neu!,
Crime,
Henry Cow,
Livin' Joy,
Yellowson,
Flipper,
Louis and Bebe Barron,
Eric Copeland,
Barclay James Harvest,
Rahsaan Roland Kirk,
The Dead C,
Bad Manners,
Red Lorry Yellow Lorry,
Charles Mingus,
Massinfluence,
Juan Atkins,
The Index,
Minor Threat,
Supertramp,
The West Coast Pop Art Experimental Band,
kango's stein massive,
DJ Style,
Inner City,
The Vogues,
K-Klass,
Gastr Del Sol,
Kool Moe Dee,
Bauhaus,
The Gun Club,
The Mummies,
Man Eating Sloth,
Johnny Clarke,
Robert Görl,
Sandy B,
Quadrant,
Jawbox,
Ohio Players,
Ultimate Spinach,
Agitation Free,
Organ,
Flash Fearless,
Sunsets and Hearts,
Los Fastidios,
Moebius,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.