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 Mauritania and from Sao Paulo.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Stockholm 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Arcadia to the rap kids.
I played it at the Spitz.
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 Average White Band. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Hashim 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 a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The Leaves,
PIL,
Bang on a Can All-Stars,
Bootsy's Rubber Band,
Popol Vuh,
Jimmy McGriff,
Bobby Sherman,
Joyce Sims,
Erasure,
Sexual Harrassment,
Dark Day,
Stetsasonic,
The Cramps,
Sex Pistols,
Arab on Radar,
Steve Hackett,
Lungfish,
The Chocolate Watch Band,
The Modern Lovers,
Kaleidoscope,
Easy Going,
James Chance & The Contortions,
John Holt,
Ken Boothe,
Major Organ And The Adding Machine,
Judy Mowatt,
Quando Quango,
Fear,
Slick Rick,
Can,
Lou Reed,
Essential Logic,
Roxette,
The Red Krayola,
Warsaw,
Tears for Fears,
Funkadelic,
The Invisible,
Pere Ubu,
Qualms,
Sonny Sharrock,
B.T. Express,
Con Funk Shun,
The Count Five,
The J.B.'s,
Bill Wells,
the Sonics,
AZ,
Fela Kuti,
The Motions,
Cal Tjader,
Aaron Thompson,
Minutemen,
The Last Poets,
Tommy Roe,
Althea and Donna,
Quantec,
Gang of Four,
The Moody Blues,
The Doors,
The Cowsills,
Gregory Isaacs,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.