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 San Marino and from Columbus.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Lagos and Columbus.
I'm losing my edge to the art-school Manila 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 chamberlin 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 Bobby Byrd to the funk 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 Sarah Menescal. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Piero Umiliani 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Jimmy McGriff,
Absolute Body Control,
Soft Cell,
Skarface,
La Düsseldorf,
Erasure,
48th St. Collective,
Con Funk Shun,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pharaoh Sanders and the Fire Engines,
Connie Case,
Neil Young,
Monks,
Wasted Youth,
Joe Finger,
Barbara Tucker,
Flash Fearless,
Slick Rick,
Kerri Chandler,
Bobby Womack,
Cheater Slicks,
Al Stewart,
Kerrie Biddell,
Loose Ends,
The Pretty Things,
Major Organ And The Adding Machine,
The Fire Engines,
Fifty Foot Hose,
Eric Copeland,
Freddie Wadling,
Cybotron,
L. Decosne,
Nas,
Strawberry Alarm Clock,
Scion,
Yellowson,
Rakim,
Simply Red,
Andrew Hill,
Avey Tare's Slasher Flicks,
Gil Scott-Heron and Jamie xx,
The Peanut Butter Conspiracy,
Ten City,
Eve St. Jones,
Pole,
Robert Wyatt,
Nik Kershaw,
LL Cool J,
New Order,
Echospace,
Lightning Bolt,
DNA,
Alice Coltrane,
Jawbox,
The Saints,
Metal Thangz,
Man Parrish,
Laurel Aitken,
Suicide,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.