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 Bahrain and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1975.
I'm losing my edge.
To all the kids in Taipei and Salvador.
I'm losing my edge to the art-school Accra 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 Ultravox to the crunk 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 Wasted Youth. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every The Music Machine 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 '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Rosa Yemen,
Gil Scott-Heron & Brian Jackson,
Ten City,
Joe Finger,
Scrapy,
JFA,
Buzzcocks,
The Velvet Underground,
Bob Dylan,
Bluetip,
the Germs,
Y Pants,
Radio Birdman,
London Community Gospel Choir,
Vladislav Delay,
Brick,
Niagra,
Reuben Wilson,
kango's stein massive,
The Electric Prunes,
Bizarre Inc.,
Barbara Tucker,
the Normal,
Terrestrial Tones,
The Standells,
Alice Coltrane,
Harry Pussy,
Joensuu 1685,
Andrew Ashong & Theo Parrish,
Joey Negro,
Japan,
Fort Wilson Riot,
Derrick May,
Accadde A,
Oppenheimer Analysis,
The Red Krayola,
Jawbox,
Sound Behaviour,
Ponytail,
The Saints,
Wings,
Fat Boys,
Curtis Mayfield,
Hot Snakes,
Kayak,
The Toasters,
Soulsonic Force,
Jesper Dahlbäck,
Colin Newman,
Ultramagnetic MC's,
Throbbing Gristle,
One Last Wish,
Index,
Dual Sessions,
the Fania All-Stars,
Robert Wyatt,
Black Pus,
Röyhkä ja Rättö ja Lehtisalo,
Lee Hazlewood,
Ultra Naté,
Magma,
H. Thieme,
Max Romeo,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.