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 Laos 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 1969 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Portland.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Kings Of Tomorrow to the electroclash kids.
I played it at Trash.
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 Intrusion. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Soul II Soul,
The Sonics,
Soul Sonic Force,
Ice-T,
Hashim,
Kerri Chandler,
Nation of Ulysses,
Aaron Thompson,
Idris Muhammad,
Johnny Osbourne,
Brand Nubian,
Eric B and Rakim,
Cameo,
Josef K,
Country Joe & The Fish,
Derrick May,
Inner City,
Oneida,
Sun Ra,
Roy Ayers,
Sex Pistols,
The Five Americans,
Underground Resistance,
Sly & The Family Stone,
John Cale,
Archie Shepp,
Avey Tare,
Jacob Miller,
the Sonics,
Negative Approach,
Circle Jerks,
Soulsonic Force,
The Slits,
The Black Dice,
The American Breed,
Charles Mingus,
The Stooges,
Maleditus Sound,
Deakin,
The Names,
Jerry's Kids,
Davy DMX,
Chris Corsano,
Gary Puckett & The Union Gap,
Sun Ra Arkestra,
The J.B.'s,
U.S. Maple,
Dual Sessions,
Swans,
The Gladiators,
The Sisters of Mercy,
Alphaville,
The Evens,
Orchestral Manoeuvres in the Dark,
KRS-One,
Silicon Teens,
The Last Poets,
Nils Olav,
Bill Wells,
The Smiths, The Smiths, The Smiths, The Smiths.
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.