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 Kazakhstan and from Madrid.
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 1978.
I'm losing my edge.
To all the kids in Columbus and Manchester.
I'm losing my edge to the art-school Portland 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 1977 at the first Human League practice in a loft in Sheffield.
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 Sam Rivers to the rap kids.
I played it at the 40 Watt.
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 Scratch Acid. All the underground hits.
All Pierre Henry 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 jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Mars,
Altered Images,
Graham Central Station,
Sugar Minott,
Erykah Badu,
Andrew Ashong & Theo Parrish,
E-Dancer,
Bang on a Can All-Stars,
Metal Thangz,
Morten Harket,
Popol Vuh,
The Sound,
Throbbing Gristle,
Nico,
Intrusion,
X-101,
Marine Girls,
Liliput,
Gian Franco Pienzio,
The Move,
Magma,
Sex Pistols,
Godley & Creme,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Anthony Braxton,
Country Joe & The Fish,
Heaven 17,
Livin' Joy,
The Angels of Light,
Avey Tare's Slasher Flicks,
Lebanon Hanover,
JFA,
Cal Tjader,
Monolake,
Eyeless In Gaza,
Matthew Halsall,
Lee Hazlewood,
The Velvet Underground,
Gil Scott Heron,
Soft Machine,
The Seeds,
Bauhaus,
Rhythm & Sound,
Janne Schatter,
Althea and Donna,
Grauzone,
Scott Walker,
Ultramagnetic MC's,
Hardrive,
the Normal,
Lou Reed,
Rapeman,
Peter and Kerry,
Agent Orange,
Eurythmics,
Malaria!,
Bizarre Inc.,
Accadde A,
Rites of Spring,
Boogie Down Productions,
Lizzy Mercier Descloux,
The Smiths,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.