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 Dominica and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Mexico City 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum 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 Eyeless In Gaza 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 Roger Hodgson. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Second Layer,
James Chance & The Contortions,
Tres Demented,
Fad Gadget,
Big Daddy Kane,
Gong,
Gil Scott Heron,
Derrick Morgan,
Archie Shepp,
Crime,
Donald Byrd,
The Victims,
Althea and Donna,
Audionom,
Japan,
Mo-Dettes,
The Fire Engines,
Reagan Youth,
John Coltrane,
Reuben Wilson,
Eurythmics,
Shuggie Otis,
Delon & Dalcan,
Liaisons Dangereuses,
A Flock of Seagulls,
The Gun Club,
Newcleus,
Thompson Twins,
Louis and Bebe Barron,
Grauzone,
Neil Young & Crazy Horse,
The Shadows of Knight,
The Electric Prunes,
The Men They Couldn't Hang,
Flamin' Groovies,
Deepchord,
Super Lover Cee & Casanova Rud,
Sarah Menescal,
Bobby Womack,
Circle Jerks,
Sparks,
Selector Dub Narcotic,
Aswad,
The Monochrome Set,
Saccharine Trust,
Bill Wells,
The Residents,
Toni Rubio,
EPMD,
Massinfluence,
Hashim,
Moss Icon,
Rhythim Is Rhythim,
Iggy Pop,
Sly & The Family Stone,
Crash Course in Science,
Andrew Hill,
Boz Scaggs,
Nas,
Blancmange,
K-Klass,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.