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 St Kitts & Nevis and from Hong Kong.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 rhodes 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 Soul Sonic Force to the disco kids.
I played it at the Troubador.
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 Hashim. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
The Move,
Black Moon,
Gregory Isaacs,
Robert Wyatt,
the Human League,
Reagan Youth,
Gang Starr,
Matthew Bourne,
Ultra Naté,
Drexciya,
Sun City Girls,
Fat Boys,
Blake Baxter,
Barrington Levy,
U.S. Maple,
Arab on Radar,
Bluetip,
JFA,
AZ,
The Real Kids,
Gil Scott-Heron and Jamie xx,
Panda Bear,
Lightning Bolt,
Sonny Sharrock,
Frankie Knuckles,
Symarip,
Mandrill,
June Days,
Marshall Jefferson,
cv313,
Dual Sessions,
Rapeman,
The Fugs,
The Walker Brothers,
Excepter,
The Blackbyrds,
The Star Department,
Dead Boys,
Malaria!,
Dorothy Ashby,
Ponytail,
Groovy Waters,
World's Most,
Maleditus Sound,
Jeru the Damaja,
The Trojans,
The Black Dice,
Röyhkä ja Rättö ja Lehtisalo,
Eurythmics,
The Sisters of Mercy,
Dawn Penn,
Tubeway Army,
Shuggie Otis,
Essential Logic,
The Moody Blues,
Blossom Toes,
Roger Hodgson,
Gil Scott Heron,
Rahsaan Roland Kirk,
Urselle,
Michelle Simonal,
Whodini,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.