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 Burundi and from Accra.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Calgary and Woodstock.
I'm losing my edge to the art-school Bologna 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Fluxion to the crunk kids.
I played it at the Hacienda.
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 Suburban Knight. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Von Mondo 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Rosa Yemen,
Mr. Review,
David Axelrod,
Man Eating Sloth,
Arab on Radar,
Minny Pops,
Hot Snakes,
Gary Puckett & The Union Gap,
Sandy B,
Eyeless In Gaza,
Supertramp,
Sällskapet,
Los Fastidios,
The Fuzztones,
Godley & Creme,
Stereo Dub,
Slick Rick,
Andrew Hill,
Echo & the Bunnymen,
Marcia Griffiths,
48th St. Collective,
Grandmaster Flash,
L. Decosne,
Chris Corsano,
The Kinks,
Surgeon,
Red Lorry Yellow Lorry,
John Holt,
Judy Mowatt,
The Move,
Thompson Twins,
Section 25,
The Music Machine,
B.T. Express,
Black Sheep,
Grandmaster Flash and the Furious Five,
Unrelated Segments,
Funky Four + One,
Gil Scott-Heron and Jamie xx,
Make Up,
Johnny Osbourne,
Goldenarms,
Massinfluence,
K-Klass,
The Monochrome Set,
Rhythm & Sound,
Lungfish,
Monolake,
James Chance & The Contortions,
The Last Poets,
Spandau Ballet,
Sly & The Family Stone,
Blake Baxter,
Derrick Morgan,
Das Ding,
X-102,
Ituana,
OOIOO,
Marc Almond,
Sad Lovers and Giants,
These Immortal Souls,
Gang of Four,
Severed Heads,
The Divine Comedy,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.