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 Barbados and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Spokane 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar 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 Prince Buster to the grime 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 David Axelrod. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every The Dirtbombs 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 '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Heaven 17,
Marcia Griffiths,
Liaisons Dangereuses,
Nas,
KRS-One,
Jimmy McGriff,
Dr. Dre and Snoop Doggy Dog,
Brick,
Pole,
Terry Callier,
Hardrive,
The Cosmic Jokers,
In Retrospect,
Jandek,
The Fall,
Be Bop Deluxe,
Angry Samoans,
Ultimate Spinach,
The Names,
Bobby Womack,
David McCallum,
Eyeless In Gaza,
Minor Threat,
The Human League,
Duran Duran,
Boredoms,
Main Source,
Lizzy Mercier Descloux,
the Association,
The Selecter,
Joy Division,
Roy Ayers,
Pylon,
Rakim,
Youth Brigade,
Jeff Lynne,
Basic Channel,
Rapeman,
Rahsaan Roland Kirk,
Camron Feat. Jay Z And Juelz,
The Blues Magoos,
Susan Cadogan,
Drexciya,
Excepter,
The Slits,
Josef K,
Howard Jones,
Brass Construction,
Man Parrish,
Lebanon Hanover,
Teenage Jesus and the Jerks,
DeepChord presents Echospace,
Dual Sessions,
Swell Maps,
Country Joe & The Fish,
Qualms,
Gil Scott Heron,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.