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 Taiwan and from Mexico City.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Bologna.
I'm losing my edge to the art-school Hong Kong 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 The Busters to the funk kids.
I played it at the Spitz.
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 The Neon Judgement. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Panda Bear,
The Kinks,
Eyeless In Gaza,
Gerry Rafferty,
Terrestrial Tones,
Magazine,
Lightning Bolt,
Beasts of Bourbon,
Pete Rock & C.L. Smooth,
Todd Terry,
the Human League,
Masters at Work,
Tommy Roe,
Laurel Aitken,
Donny Hathaway,
The Index,
These Immortal Souls,
Kenny Larkin,
Newcleus,
Cabaret Voltaire,
Fluxion,
Eric Dolphy,
Lower 48,
The Mighty Diamonds,
Marc Romboy vs. Booka Shade,
Pere Ubu,
Franke,
Sonny Sharrock,
Eric B and Rakim,
Joensuu 1685,
Lalann,
The Modern Lovers,
Hasil Adkins,
Peter Gordon & Love of Life Orchestra,
Outsiders,
The Gap Band,
Shoche,
DNA,
Rites of Spring,
The Gladiators,
The Dave Clark Five,
Strawberry Alarm Clock,
Pussy Galore,
Carl Craig,
The Shadows of Knight,
Brass Construction,
Kool Moe Dee,
Nik Kershaw,
Thinking Fellers Union Local 282,
The Gories,
Scientists,
Roy Ayers Ubiquity,
Barrington Levy,
Bauhaus,
The Peanut Butter Conspiracy,
Selector Dub Narcotic,
Cecil Taylor,
Davy DMX,
Joey Negro,
Bang on a Can All-Stars,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.