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 Lesotho and from Sao Paulo.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
I'm losing my edge to the art-school Manchester 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Skriet to the rock kids.
I played it at the Spitz.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Quadrant 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 '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Jeru the Damaja,
Tubeway Army,
Soul II Soul,
Big Daddy Kane,
Pole,
Amon Düül,
Kool G Rap & DJ Polo,
Chrome,
Anthony Braxton,
Fat Boys,
The Blues Magoos,
The Young Rascals,
Justin Hinds & The Dominoes,
The Detroit Cobras,
The Grass Roots,
Albert Ayler,
Bang On A Can,
The Seeds,
Dorothy Ashby,
Grey Daturas,
Maurizio,
F. McDonald,
The Gladiators,
Ice-T,
Danielle Patucci,
Radiohead,
Pagans,
Dawn Penn,
Roy Ayers,
The Sisters of Mercy,
Brand Nubian,
Bobby Byrd,
Terror Squad Feat. Camron,
DNA,
Skaos,
Buzzcocks,
Arthur Verocai,
Terry Callier,
Supertramp,
David Axelrod,
Crash Course in Science,
Rowland S Howard / Lydia Lunch,
The Gories,
Minnie Riperton,
Sun Ra Arkestra,
Rites of Spring,
Malaria!,
Avey Tare & Kría Brekkan,
Eurythmics,
Stetsasonic,
Super Lover Cee & Casanova Rud,
Funkadelic,
the Association,
Lalo Schifrin,
Babytalk,
Franke,
China Crisis,
L. Decosne,
ABBA,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.