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 Taiwan and from Bremen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
I'm losing my edge to the art-school Lagos 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Rakim to the jazz kids.
I played it at the Crocodile.
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 Robert Wyatt. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 Peter and Kerry 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?
The Dirtbombs,
OOIOO,
Terror Squad Feat. Camron,
Sight & Sound,
Sonny Sharrock,
Morten Harket,
Stiv Bators,
Ponytail,
Sällskapet,
The New Christs,
U.S. Maple,
Sound Behaviour,
Gang Green,
Country Joe & The Fish,
Monolake,
Susan Cadogan,
The Monks,
Slave,
The Moleskins,
Rekid,
Cymande,
Khruangbin,
Mandrill,
Glambeats Corp.,
Deadbeat,
Liliput,
Procol Harum,
Freddie Wadling,
Soft Cell,
Lalann,
PIL,
Liaisons Dangereuses,
The Gap Band,
James White and The Blacks,
Bobby Hutcherson,
Roy Ayers Ubiquity,
London Community Gospel Choir,
Soulsonic Force,
Scratch Acid,
The Zeros,
The Tremeloes,
the Normal,
Roger Hodgson,
Marshall Jefferson,
kango's stein massive,
The Blackbyrds,
Juan Atkins,
The Stooges,
Grandmaster Flash and the Furious Five,
Angry Samoans,
Sam Rivers,
Marc Almond,
Lee Hazlewood,
Brick,
The Leaves,
Trumans Water,
Alton Ellis,
Mark Hollis,
Mantronix,
Joey Negro,
Harmonia,
The American Breed,
The Sound, The Sound, The Sound, The Sound.
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.