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 Bhutan and from Calgary.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Stockholm 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 Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Johnny Osbourne to the jazz 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 Standells. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Siglo XX 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Cymande,
The Misunderstood,
John Cale,
Sun Ra,
Eric B and Rakim,
Ossler,
Parry Music,
Sun City Girls,
Warsaw,
Sun Ra Arkestra,
Inner City,
This Heat,
Bob Dylan,
The Gap Band,
DJ Sneak,
The Slackers,
Moebius,
Delon & Dalcan,
Bluetip,
Rod Modell,
Pussy Galore,
Eyeless In Gaza,
The Vogues,
Sugar Minott,
Ronnie Foster,
The Monochrome Set,
Dead Boys,
Lafayette Afro Rock Band,
Vaughan Mason & Crew,
48th St. Collective,
Intrusion,
La Düsseldorf,
Reuben Wilson,
Visage,
Nation of Ulysses,
The Busters,
The Happenings,
Jacob Miller,
The Seeds,
The Standells,
Rufus Thomas,
ABBA,
Oneida,
Hardrive,
Gil Scott Heron,
Essential Logic,
Icehouse,
Pylon,
Neu!,
The Pop Group,
Bad Manners,
The Gories,
Kauko Röyhkä ja Narttu,
Marcia Griffiths,
Junior Murvin,
Sad Lovers and Giants,
Black Sheep,
Marc Romboy vs. Booka Shade,
Lou Christie,
The Doors, The Doors, The Doors, The Doors.
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.