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 Italy and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1979.
I'm losing my edge.
To all the kids in New York and Tokyo.
I'm losing my edge to the art-school Accra 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 Zapp practice in a loft in Hamilton.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Joey Negro to the jazz 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 Kerri Chandler. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Big Daddy Kane 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Pharaoh Sanders and the Fire Engines,
The Neon Judgement,
Barclay James Harvest,
The Pop Group,
Dennis Brown,
Nas,
Grey Daturas,
Freddie Wadling,
Janne Schatter,
Glenn Branca,
Toni Rubio,
Richard Hell and the Voidoids,
David Axelrod,
Gil Scott-Heron & Brian Jackson,
De La Soul & Jungle Brothers,
the Sonics,
Spoonie Gee,
London Community Gospel Choir,
Sugar Minott,
The Dead C,
Barbara Tucker,
R.M.O.,
Bobby Hutcherson,
Gerry Rafferty,
Dark Day,
10cc,
The Men They Couldn't Hang,
The Names,
Procol Harum,
Mark Hollis,
X-101,
Kerrie Biddell,
Cybotron,
The Fugs,
Icehouse,
Mr. Review,
Lucky Dragons,
Marcia Griffiths,
The Motions,
It's A Beautiful Day,
Graham Central Station,
Eurythmics,
Hardrive,
Scientists,
Amon Düül II,
The Dirtbombs,
Masters at Work,
cv313,
Funkadelic,
This Heat,
Section 25,
Ponytail,
Charles Mingus,
Scratch Acid,
Supertramp,
Peter and Kerry,
The Selecter,
Sonny Sharrock,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.