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 United Kingdom and from Winnipeg.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Calgary and Halifax.
I'm losing my edge to the art-school Jakarta 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 David Axelrod to the grime kids.
I played it at the Hacienda.
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 Silicon Teens. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
The Shadows of Knight,
London Community Gospel Choir,
Grandmaster Flash,
Swell Maps,
Wally Richardson,
F. McDonald,
Make Up,
U.S. Maple,
Wings,
Notorious BIG live in Amsterdam,
Eurythmics,
Essential Logic,
The Gladiators,
Darondo,
Circle Jerks,
Trumans Water,
Pussy Galore,
ABBA,
Y Pants,
Fort Wilson Riot,
The Cosmic Jokers,
Dead Boys,
The Jesus and Mary Chain,
Jeff Mills,
The Seeds,
Sonic Youth,
Ponytail,
The Saints,
The Moody Blues,
the Sonics,
Pulsallama,
The Black Dice,
Gary Puckett & The Union Gap,
The Pop Group,
Pharoah Sanders,
Eyeless In Gaza,
Ralphi Rosario,
The Buckinghams,
B.T. Express,
Panda Bear,
Erasure,
Lindisfarne,
Grandmaster Flash and the Furious Five,
Soft Cell,
Pylon,
Camberwell Now,
Stereo Dub,
Suburban Knight,
Bobby Womack,
Oppenheimer Analysis,
the Normal,
Ken Boothe,
8 Eyed Spy,
Spandau Ballet,
Half Japanese,
The Flesh Eaters,
Roger Hodgson,
Young Marble Giants,
Surgeon,
Severed Heads,
the Slits, the Slits, the Slits, the Slits.
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.