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 Fiji and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1970.
I'm losing my edge.
To all the kids in London and Lagos.
I'm losing my edge to the art-school Philadelphia 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the organ 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 Sonny Sharrock to the rap kids.
I played it at Trash.
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 Joe Smooth. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Sparks,
Clear Light,
Gil Scott-Heron & Brian Jackson,
Barbara Tucker,
Marvin Gaye,
Ossler,
Bizarre Inc.,
Lightning Bolt,
Lizzy Mercier Descloux,
The Modern Lovers,
Bad Manners,
Quantec,
The Detroit Cobras,
Idris Muhammad,
Leonard Cohen,
The Standells,
Tears for Fears,
the Fania All-Stars,
Livin' Joy,
Brass Construction,
Gian Franco Pienzio,
Johnny Clarke,
Average White Band,
Sly & The Family Stone,
Gerry Rafferty,
Y Pants,
EPMD,
The Star Department,
Chris & Cosey,
Rekid,
Tres Demented,
The Music Machine,
Camberwell Now,
Amon Düül,
Sight & Sound,
Mary Jane Girls,
Andrew Ashong & Theo Parrish,
Mars,
Amon Düül II,
Babytalk,
Sugar Minott,
Oneida,
Cybotron,
Brand Nubian,
Kaleidoscope,
Country Joe & The Fish,
Robert Hood,
Donny Hathaway,
the Bar-Kays,
The Tremeloes,
Beasts of Bourbon,
Suburban Knight,
kango's stein massive,
Yazoo,
Subhumans,
CMW,
Rosa Yemen,
Stereo Dub,
Avey Tare,
Sticky Fingaz feat. Raekwon,
Gastr Del Sol,
Black Moon, Black Moon, Black Moon, Black Moon.
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.