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 Ukraine and from Jakarta.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Seoul.
I'm losing my edge to the art-school Columbus 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 harpsichord 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 Barrington Levy to the grime kids.
I played it at the Troubador.
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 Harry Pussy. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every The Kinks 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 '80s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Eric B and Rakim,
Sun City Girls,
Deepchord,
Mr. Review,
Donald Byrd,
Lebanon Hanover,
Harry Pussy,
Roy Ayers Ubiquity,
Albert Ayler,
Blake Baxter,
Pylon,
Lakeside,
Gabor Szabo,
The Cowsills,
Robert Hood,
Black Sheep,
Wings,
Index,
The Toasters,
Rufus Thomas,
Agitation Free,
The Remains,
Echospace,
Slave,
Section 25,
Nick Cave & The Bad Seeds,
The Modern Lovers,
Hot Snakes,
Pere Ubu,
Quadrant,
Sound Behaviour,
Franke,
Notorious Big And Bone Thugs,
Anthony Braxton,
KRS-One,
Shoche,
Radio Birdman,
Q and Not U,
Lee Hazlewood,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gian Franco Pienzio,
Lizzy Mercier Descloux,
Roger Hodgson,
John Cale,
Swell Maps,
Rotary Connection,
Brothers Johnson,
Roxy Music,
Desert Stars,
Eli Mardock,
Isaac Hayes,
The Barracudas,
Gang Green,
Metal Thangz,
Stiv Bators,
Jawbox,
Howard Jones,
Lou Reed & Metallica,
Sight & Sound,
Black Moon,
Nirvana, Nirvana, Nirvana, Nirvana.
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.