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 Zambia and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school Beijing 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Symarip to the rap kids.
I played it at the Spitz.
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 Oblivians. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Robert Görl 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Royal Trux,
Kool Moe Dee,
Marshall Jefferson,
Pharoah Sanders,
Ultramagnetic MC's,
Symarip,
H. Thieme,
Cecil Taylor,
Minor Threat,
Technova,
Ultravox,
Robert Görl,
The Detroit Cobras,
Hot Snakes,
Robert Wyatt,
Mary Jane Girls,
ABC,
The Remains,
Glambeats Corp.,
Darondo,
The Cowsills,
John Coltrane,
Barbara Tucker,
Sad Lovers and Giants,
Röyhkä ja Rättö ja Lehtisalo,
DeepChord presents Echospace,
Glenn Branca,
The J.B.'s,
Quando Quango,
Lonnie Liston Smith,
Section 25,
Magazine,
Eve St. Jones,
Kaleidoscope,
Moebius,
Eyeless In Gaza,
The Blackbyrds,
Roy Ayers,
The Toasters,
R.M.O.,
Delta 5,
Siglo XX,
D'Angelo,
Laurel Aitken,
Bootsy Collins,
Bluetip,
Absolute Body Control,
Interpol,
The Trojans,
Thee Headcoats,
The Leaves,
The Fuzztones,
The Kinks,
Fela Kuti,
Johnny Osbourne,
Red Lorry Yellow Lorry,
Peter Gordon & Love of Life Orchestra,
The United States of America,
Maurizio,
Marmalade,
Mandrill, Mandrill, Mandrill, Mandrill.
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.