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 South Sudan and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Halifax.
I'm losing my edge to the art-school Seoul 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Toni Rubio to the electroclash kids.
I played it at the Troubador.
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 Mars. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every The Blackbyrds 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Masters at Work,
Black Bananas,
The Gladiators,
Organ,
Gang Starr,
Slave,
a-ha,
Althea and Donna,
Mantronix,
The Men They Couldn't Hang,
The New Christs,
Kayak,
The Birthday Party,
The Cure,
Siglo XX,
Soul II Soul,
Gong,
Kaleidoscope,
The Electric Prunes,
Pierre Henry,
Television,
Eli Mardock,
Major Organ And The Adding Machine,
Gastr Del Sol,
Crime,
Metal Thangz,
Visionaries,LMNO, T- Love & Iriscience,
Panda Bear,
Das Ding,
Hot Snakes,
The Star Department,
Roy Ayers Ubiquity,
Second Layer,
Animal Collective,
DeepChord presents Echospace,
D'Angelo,
Lower 48,
Sun Ra,
the Bar-Kays,
Qualms,
Country Teasers,
Reagan Youth,
Darondo,
Whodini,
Ajijia Myrayebe,
Joy Division,
Sad Lovers and Giants,
The Smoke,
Interpol,
Pantaleimon,
Graham Central Station,
Slick Rick,
Maleditus Sound,
Q and Not U,
the Association,
Mandrill,
The Slits,
Eric Dolphy,
Mars,
Terry Callier,
Unrelated Segments,
Spandau Ballet,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.