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 Bahamas and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
I'm losing my edge to the art-school Mumbai 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 clarinet sounds with much patience.
I was there when David Bowie 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 Richard Hell and the Voidoids to the grunge kids.
I played it at the Hacienda.
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 Saccharine Trust. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Gary Puckett & The Union Gap,
Aswad,
Gerry Rafferty,
The Divine Comedy,
Roy Ayers Ubiquity,
Unwound,
Sight & Sound,
E-Dancer,
Shuggie Otis,
Warsaw,
Pussy Galore,
The Happenings,
Judy Mowatt,
In Retrospect,
Amon Düül II,
Fugazi,
The Moleskins,
Cluster,
Scratch Acid,
Cameo,
R.M.O.,
The Royal Family And The Poor,
Siouxsie and the Banshees,
The Martian,
Sarah Menescal,
Nik Kershaw,
Echospace,
Blancmange,
Graham Central Station,
Pantytec,
The Selecter,
A Certain Ratio,
Swell Maps,
JFA,
DNA,
Little Man,
DeepChord presents Echospace,
John Foxx,
Gong,
Terror Squad Feat. Camron,
Ohio Players,
Pharoah Sanders,
Y Pants,
Maleditus Sound,
Tommy Roe,
Alison Limerick,
Ajijia Myrayebe,
Kauko Röyhkä ja Narttu,
The Walker Brothers,
Siglo XX,
Dark Day,
Sister Nancy,
B.T. Express,
Ornette Coleman,
Albert Ayler,
Boz Scaggs,
Grandmaster Flash and the Furious Five,
Ponytail,
Tubeway Army,
The Moody Blues,
Gang Green, Gang Green, Gang Green, Gang Green.
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.