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 Algeria and from Copenhagen.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Cairo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Kevin Saunderson to the disco kids.
I played it at the Crocodile.
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 John Coltrane. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Delon & Dalcan,
Marmalade,
Rekid,
Albert Ayler,
The Vogues,
Bobbi Humphrey,
Boredoms,
Ludus,
Lou Christie,
The Dave Clark Five,
Godley & Creme,
The Seeds,
Ultimate Spinach,
Agent Orange,
Shoche,
Mantronix,
Mission of Burma,
Jesper Dahlbäck,
Suburban Knight,
Camron Feat. Memphis Bleek And Beenie Seigel,
Aloha Tigers,
Smog,
Q65,
Scion,
The Doobie Brothers,
Roger Hodgson,
Lalo Schifrin,
Jeru the Damaja,
Mr. Review,
Deakin,
Guru Guru,
The Gun Club,
Eddi Front,
Lindisfarne,
John Cale,
Lower 48,
The Durutti Column,
Bobby Womack,
Roxy Music,
Scrapy,
Rufus Thomas,
8 Eyed Spy,
Sparks,
kango's stein massive,
Pete Rock & C.L. Smooth,
The Five Americans,
Brass Construction,
The Victims,
Lebanon Hanover,
Laurel Aitken,
Jeff Lynne,
Robert Hood,
Nico,
Mo-Dettes,
Jacques Brel,
Yellowson,
Electric Light Orchestra,
Avey Tare's Slasher Flicks,
Intrusion,
Yusef Lateef,
Sandy B,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.