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 Montenegro and from Cairo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Manchester and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 harpsichord 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 Sarah Menescal to the dance 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 Hood. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Massinfluence record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
The Martian,
Camberwell Now,
Radio Birdman,
Fad Gadget,
Can,
The Gap Band,
The Dead C,
Boredoms,
Ultimate Spinach,
Toni Rubio,
Big Daddy Kane,
the Soft Cell,
Tim Buckley,
Nas,
Lee Hazlewood,
Brothers Johnson,
Au Pairs,
Crooked Eye,
Jawbox,
The Men They Couldn't Hang,
Crispy Ambulance,
Malaria!,
Kings Of Tomorrow,
Pylon,
Ultramagnetic MC's,
The Dirtbombs,
Dr. Dre and Snoop Doggy Dog,
Depeche Mode,
Brand Nubian,
Silicon Teens,
Ohio Players,
Yusef Lateef,
Bluetip,
Davy DMX,
Idris Muhammad,
Sex Pistols,
Kurtis Blow,
Sandy B,
Sam Rivers,
The Trojans,
Slick Rick,
Brass Construction,
Rahsaan Roland Kirk,
Lebanon Hanover,
Quando Quango,
Howard Jones,
The Mighty Diamonds,
Black Sheep,
Scan 7,
Absolute Body Control,
Junior Murvin,
Black Pus,
Roy Ayers Ubiquity,
Judy Mowatt,
8 Eyed Spy,
London Community Gospel Choir,
Moss Icon,
This Heat,
Laurel Aitken,
Gichy Dan,
MDC,
Japan,
Rotary Connection,
June Days, June Days, June Days, June Days.
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.