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 Trinidad & Tobago and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1974.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Copenhagen 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Sun Ra to the jazz 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 Byron Stingily. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Cure record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Leonard Cohen,
Barclay James Harvest,
Be Bop Deluxe,
Section 25,
Mark Hollis,
June Days,
the Association,
Theoretical Girls,
Scientists,
Nils Olav,
Pharaoh Sanders and the Fire Engines,
Mission of Burma,
In Retrospect,
The Cramps,
Morten Harket,
Althea and Donna,
A Certain Ratio,
Alice Coltrane,
Angels of Light & Akron/Family,
Kool Moe Dee,
Radiohead,
James Chance & The Contortions,
Siglo XX,
X-102,
Suburban Knight,
Eric Copeland,
Gregory Isaacs,
Grey Daturas,
The Golliwogs,
Pole,
Hardrive,
Matthew Halsall,
Sister Nancy,
The Walker Brothers,
Dennis Brown,
Marine Girls,
Tim Buckley,
Ultravox,
John Holt,
ABC,
The Names,
Stockholm Monsters,
Robert Görl,
Jacques Brel,
Liliput,
Pete Rock & C.L. Smooth,
The Misunderstood,
Hasil Adkins,
Masters at Work,
Massinfluence,
UT,
Hashim,
Minny Pops,
Arthur Verocai,
Gichy Dan,
Donny Hathaway,
Man Eating Sloth,
Intrusion,
Mars,
Danielle Patucci,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.