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 Papua New Guinea and from Paris.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Delhi 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 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 Malaria! to the techno kids.
I played it at CBGB's.
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 The Royal Family And The Poor. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
Saccharine Trust,
Dorothy Ashby,
Pere Ubu,
Jeru the Damaja,
the Germs,
Sight & Sound,
Tears for Fears,
Jawbox,
The Modern Lovers,
Harmonia,
Maleditus Sound,
Magazine,
The Alarm Clocks,
Unwound,
Crash Course in Science,
Nik Kershaw,
Kurtis Blow,
FM Einheit,
The Techniques,
Quantec,
Derrick Morgan,
Scratch Acid,
Kool G Rap & DJ Polo,
Neil Young,
Lou Reed & John Cale,
Electric Prunes,
Pantytec,
The Men They Couldn't Hang,
Guru Guru,
Basic Channel,
Lizzy Mercier Descloux,
Sound Behaviour,
Soul II Soul,
Harry Pussy,
Fluxion,
Soft Machine,
Orchestral Manoeuvres in the Dark,
Selector Dub Narcotic,
Black Bananas,
Simply Red,
Heavy D & The Boyz,
Intrusion,
The Fuzztones,
Procol Harum,
Yellowson,
Index,
Bang On A Can,
London Community Gospel Choir,
Theoretical Girls,
Loose Ends,
N.O.R.E. Featuring Pharrell,
Kevin Saunderson,
Terrestrial Tones,
Sarah Menescal,
The Dave Clark Five,
The Cramps,
The Fall,
Althea and Donna,
The Human League,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.