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 Slovakia and from Glasgow.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Johannesburg.
I'm losing my edge to the art-school Spokane 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 chamberlin 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 The Gap Band to the funk 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 Essential Logic. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every The Five Americans record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Ultra Naté,
Sonny Sharrock,
Kango’s Stein Massive,
Derrick May,
The Peanut Butter Conspiracy,
Deepchord,
Sight & Sound,
Drive Like Jehu,
Manfred Mann's Earth Band,
Duran Duran,
Oblivians,
Matthew Bourne,
Scientists,
James Chance & The Contortions,
Visage,
Porter Ricks,
Brick,
Anthony Braxton,
Toni Rubio,
Bootsy's Rubber Band,
Minnie Riperton,
Charles Mingus,
Skriet,
Y Pants,
Ronan,
Sad Lovers and Giants,
Stiv Bators,
Magazine,
Ash Ra Tempel,
Tim Buckley,
Ajijia Myrayebe,
Half Japanese,
Newcleus,
Kauko Röyhkä ja Narttu,
Echo & the Bunnymen,
New Order,
Lebanon Hanover,
Avey Tare's Slasher Flicks,
Section 25,
the Normal,
The Slits,
Jesper Dahlbäck,
The American Breed,
Pole,
The Cramps,
Gian Franco Pienzio,
Mantronix,
Khruangbin,
Blake Baxter,
Barbara Tucker,
The Remains,
Groovy Waters,
The West Coast Pop Art Experimental Band,
The Evens,
The Searchers,
Traffic Nightmare,
Bang on a Can All-Stars,
The Golliwogs,
A Certain Ratio,
R.M.O.,
OOIOO,
Funkadelic,
Depeche Mode,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.