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 Morocco and from Mumbai.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Taipei and Houston.
I'm losing my edge to the art-school London 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Notorious Big And Bone Thugs to the dance kids.
I played it at the Astoria.
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 Arthur Verocai. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Soulsonic Force,
Scott Walker,
Saccharine Trust,
Grey Daturas,
David Bowie,
Bill Wells,
The Gun Club,
Echospace,
The Dave Clark Five,
Shoche,
U.S. Maple,
Deutsch Amerikanische Freundschaft,
Max Romeo,
Jimmy McGriff,
Deakin,
Con Funk Shun,
Tommy Roe,
Black Flag,
Von Mondo,
Au Pairs,
Rahsaan Roland Kirk,
Cabaret Voltaire,
The Grass Roots,
Prince Buster,
Hashim,
Gregory Isaacs,
The Toasters,
Can,
New York Dolls,
Eyeless In Gaza,
Make Up,
Lizzy Mercier Descloux,
London Community Gospel Choir,
Kerri Chandler,
Radio Birdman,
Drive Like Jehu,
Second Layer,
Nico,
Qualms,
Quando Quango,
John Lydon,
Slick Rick,
Mark Hollis,
Man Parrish,
Peter Gordon & Love of Life Orchestra,
JFA,
Depeche Mode,
Faraquet,
Gian Franco Pienzio,
Porter Ricks,
Stiv Bators,
The Dirtbombs,
Sällskapet,
Kerrie Biddell,
Red Lorry Yellow Lorry,
Spoonie Gee,
Peter and Kerry,
Jerry's Kids,
The Gories,
Warsaw, Warsaw, Warsaw, Warsaw.
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.