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 Belarus and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Lille and Glasgow.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Robert Görl 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 Louis and Bebe Barron. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
The Names,
Cabaret Voltaire,
Rod Modell,
Johnny Clarke,
Bootsy Collins,
Dennis Brown,
Audionom,
The Beau Brummels,
cv313,
Kayak,
The Fall,
Sparks,
Curtis Mayfield,
Derrick Morgan,
Absolute Body Control,
Brothers Johnson,
Gabor Szabo,
The American Breed,
Gong,
Echospace,
Funky Four + One,
Jeru the Damaja,
The Black Dice,
Adolescents,
Vladislav Delay,
Drive Like Jehu,
Dark Day,
Kaleidoscope,
John Coltrane,
Ten City,
Pete Rock & C.L. Smooth,
Nik Kershaw,
DJ Style,
Public Image Ltd.,
Sound Behaviour,
Howard Jones,
Oblivians,
X-102,
Pulsallama,
De La Soul & Jungle Brothers,
Glambeats Corp.,
Q65,
Crispian St. Peters,
The Zeros,
Eric B and Rakim,
Moebius,
Michelle Simonal,
Prince Buster,
Danielle Patucci,
Nils Olav,
The Index,
Lizzy Mercier Descloux,
Banda Bassotti,
Y Pants,
James White and The Blacks,
Soulsonic Force,
The West Coast Pop Art Experimental Band,
Kango’s Stein Massive,
Arthur Verocai,
Donald Byrd,
Heaven 17, Heaven 17, Heaven 17, Heaven 17.
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.