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 Ivory Coast and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Madrid and Taipei.
I'm losing my edge to the art-school Lille 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Gerry Rafferty to the rock 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 Bobby Byrd. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Charles Mingus 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Ponytail,
Neil Young,
Terrestrial Tones,
Bang On A Can,
Henry Cow,
Oneida,
the Fania All-Stars,
Lou Reed & John Cale,
The Count Five,
These Immortal Souls,
Funkadelic,
Kaleidoscope,
Yaz,
The Monks,
ABC,
Girls At Our Best!,
Radiohead,
Susan Cadogan,
Maleditus Sound,
Max Romeo,
The Happenings,
The Blackbyrds,
AZ,
Johnny Osbourne,
Blake Baxter,
Deadbeat,
Lizzy Mercier Descloux,
Camron Feat. Memphis Bleek And Beenie Seigel,
ABBA,
Aswad,
The Toasters,
Fort Wilson Riot,
Joensuu 1685,
Cheater Slicks,
Camberwell Now,
Bootsy Collins,
Fela Kuti,
Scion,
The Zeros,
KRS-One,
Siouxsie and the Banshees,
B.T. Express,
Reagan Youth,
The Techniques,
Soft Machine,
Essential Logic,
Eurythmics,
The American Breed,
The Sonics,
Heavy D & The Boyz,
Angels of Light & Akron/Family,
Sugar Minott,
Clear Light,
Todd Terry,
Bang on a Can All-Stars,
James Chance & The Contortions,
the Slits,
Y Pants,
Brass Construction,
Super Lover Cee & Casanova Rud,
Joe Smooth,
Kool Moe Dee,
The Mighty Diamonds,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.