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 Rwanda and from Glasgow.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Beijing and Bremen.
I'm losing my edge to the art-school Paris 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 1976 at the first Chic practice in a loft in New York.
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 Scratch Acid to the jazz 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 Lizzy Mercier Descloux. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
The Litter,
Morten Harket,
Lou Christie,
Faust,
Mars,
Zapp,
The Techniques,
Hashim,
Byron Stingily,
Negative Approach,
Livin' Joy,
Blossom Toes,
The Stooges,
Fort Wilson Riot,
Jesper Dahlbäck,
Sällskapet,
Outsiders,
Au Pairs,
The Young Rascals,
The Kinks,
Visionaries,LMNO, T- Love & Iriscience,
Amon Düül,
Dual Sessions,
Kayak,
Sex Pistols,
The Fortunes,
Aloha Tigers,
Sun City Girls,
Alice Coltrane,
Roy Ayers,
Country Teasers,
The Sonics,
Ultimate Spinach,
Matthew Bourne,
Davy DMX,
Groovy Waters,
Avey Tare's Slasher Flicks,
Kevin Saunderson,
Lizzy Mercier Descloux,
Panda Bear,
The Grass Roots,
The Move,
David McCallum,
10cc,
Ornette Coleman,
Sixth Finger,
The Saints,
Toni Rubio,
Barrington Levy,
The Flesh Eaters,
Drive Like Jehu,
Ultramagnetic MC's,
Derrick Morgan,
JFA,
Archie Shepp,
Nick Cave & The Bad Seeds,
Flamin' Groovies,
Rotary Connection,
Swans,
Minnie Riperton,
Oneida,
Pere Ubu,
the Association,
Junior Murvin,
Sandy B, Sandy B, Sandy B, Sandy B.
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.