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 Lebanon and from Taipei.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Halifax 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Yusef Lateef to the techno kids.
I played it at the Astoria.
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 Brick. All the underground hits.
All Gang Starr 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 crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Faraquet,
The Knickerbockers,
Bill Near,
Bobby Womack,
Avey Tare,
Prince Buster,
The Gories,
Jawbox,
Warsaw,
L. Decosne,
Guru Guru,
Excepter,
The Shadows of Knight,
The Gap Band,
Crooked Eye,
Minor Threat,
The Blackbyrds,
Danielle Patucci,
Grey Daturas,
Newcleus,
Lyres,
The Happenings,
The Sound,
Ludus,
Oblivians,
Pere Ubu,
The Evens,
Eric Copeland,
Roxette,
Robert Hood,
Neil Young & Crazy Horse,
Be Bop Deluxe,
Massinfluence,
Skaos,
the Sonics,
Kurtis Blow,
Scratch Acid,
Toni Rubio,
AZ,
Flash Fearless,
X-102,
Nils Olav,
David Axelrod,
Radio Birdman,
Joy Division,
Lou Reed,
Anakelly,
Sparks,
Roy Ayers,
Barry Ungar,
Al Stewart,
Black Pus,
Alice Coltrane,
Shuggie Otis,
The Buckinghams,
The West Coast Pop Art Experimental Band,
Ultravox,
Peter & Gordon,
Cal Tjader,
Sun Ra,
Pharaoh Sanders and the Fire Engines,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.