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 Rwanda and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Manchester.
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 oboe sounds with much patience.
I was there when Donald Fagen 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 Curtis Mayfield to the dance 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 Alice Coltrane. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Buzzcocks 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
New Order,
The Moleskins,
The Fugs,
Justin Hinds & The Dominoes,
Little Man,
Bad Manners,
Spoonie Gee,
Royal Trux,
Harpers Bizarre,
Ash Ra Tempel,
Cabaret Voltaire,
June Days,
Scrapy,
Tres Demented,
Danielle Patucci,
Ken Boothe,
Trumans Water,
Pussy Galore,
Massinfluence,
CMW,
Gary Puckett & The Union Gap,
Lebanon Hanover,
Circle Jerks,
Howard Jones,
Peter Gordon & Love of Life Orchestra,
the Human League,
Teenage Jesus and the Jerks,
Spandau Ballet,
Qualms,
KRS-One,
Lungfish,
Slick Rick,
Panda Bear,
The Residents,
Infiniti,
Janne Schatter,
Jacques Brel,
Black Moon,
Popol Vuh,
Buzzcocks,
Supertramp,
Motorama,
Michelle Simonal,
10cc,
The Monks,
Siglo XX,
Visionaries,LMNO, T- Love & Iriscience,
Kaleidoscope,
The Real Kids,
Procol Harum,
Barbara Tucker,
Frankie Knuckles,
La Düsseldorf,
Interpol,
Stetsasonic,
Henry Cow,
Hardrive,
Dennis Brown,
Mark Hollis,
Drexciya,
Matthew Bourne,
Radio Birdman,
Sonny Sharrock,
Sun Ra Arkestra,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.