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 Morocco and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1964 to 1976.
I'm losing my edge.
To all the kids in Salvador and Bologna.
I'm losing my edge to the art-school Winnipeg 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 marimba 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 Heavy D & The Boyz to the rock kids.
I played it at Cafe Wha.
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 Procol Harum. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Patti Smith record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Carl Craig,
Captain Beefheart & His Magic Band,
Big Daddy Kane,
Camberwell Now,
Scrapy,
A Flock of Seagulls,
Q65,
Eyeless In Gaza,
Ajijia Myrayebe,
the Bar-Kays,
Amon Düül,
Robert Görl,
Negative Approach,
The Electric Prunes,
Intrusion,
Sarah Menescal,
Kool Moe Dee,
Rahsaan Roland Kirk,
Dennis Brown,
CMW,
Flamin' Groovies,
Ituana,
Bootsy Collins,
Urselle,
Black Moon,
Amazonics,
Liliput,
Quantec,
The Associates,
One Last Wish,
Rowland S Howard / Lydia Lunch,
the Soft Cell,
The Monks,
Ultravox,
Livin' Joy,
Minor Threat,
Model 500,
The Blues Magoos,
B.T. Express,
Minnie Riperton,
Lalo Schifrin,
Newcleus,
Malaria!,
Liaisons Dangereuses,
Röyhkä ja Rättö ja Lehtisalo,
Half Japanese,
Pete Rock & C.L. Smooth,
Heavy D & The Boyz,
Ice-T,
David McCallum,
The Standells,
Anakelly,
Eli Mardock,
Royal Trux,
Kool G Rap & DJ Polo,
Skarface,
Aloha Tigers,
The Searchers,
Super Lover Cee & Casanova Rud,
Inner City,
Davy DMX,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.