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 Israel and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1972.
I'm losing my edge.
To all the kids in Lille and Lyon.
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 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 Robert Palmer 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 Blake Baxter to the dance 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 The Kinks. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Siouxsie and the Banshees,
Pulsallama,
Jesper Dahlbäck,
Mr. Review,
The Knickerbockers,
Cal Tjader,
Marc Romboy vs. Booka Shade,
Quadrant,
Fluxion,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Flipper,
Theoretical Girls,
Public Enemy,
New York Dolls,
Deakin,
Ultravox,
Chris & Cosey,
Country Joe & The Fish,
The Cure,
Moebius,
Grey Daturas,
Bootsy's Rubber Band,
Roy Ayers Ubiquity,
Camron Feat. Memphis Bleek And Beenie Seigel,
Robert Görl,
Rites of Spring,
Ralphi Rosario,
Masters at Work,
Aloha Tigers,
Alice Coltrane,
Slick Rick,
The Mojo Men,
The Royal Family And The Poor,
Jandek,
Marvin Gaye,
X-101,
Graham Central Station,
The Vogues,
Carl Craig,
the Swans,
James White and The Blacks,
Siglo XX,
Amon Düül,
Neu!,
Electric Light Orchestra,
Echo & the Bunnymen,
Absolute Body Control,
Boz Scaggs,
Skriet,
Ultimate Spinach,
The Index,
CMW,
Subhumans,
Grauzone,
Grandmaster Flash,
Unrelated Segments,
Ponytail,
The Shadows of Knight,
Mark Hollis,
Crispy Ambulance,
Ronan,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.