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 Kiribati and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Tehran 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Eve St. Jones to the rap 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 Q65. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
LL Cool J,
Eli Mardock,
Moby Grape,
Johnny Osbourne,
DJ Sneak,
Faust,
Kurtis Blow,
Eyeless In Gaza,
Kool Moe Dee,
Cybotron,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Liliput,
Delta 5,
Excepter,
Thee Headcoats,
Spandau Ballet,
Kool G Rap & DJ Polo,
The Divine Comedy,
Archie Shepp,
ABC,
Kevin Saunderson,
One Last Wish,
Technova,
Outsiders,
Grey Daturas,
The Move,
Hashim,
Amon Düül II,
Jerry Gold Smith,
Jeru the Damaja,
The Detroit Cobras,
Ash Ra Tempel,
The Gladiators,
John Lydon,
Colin Newman,
Echospace,
Shoche,
Procol Harum,
Das Ding,
Marmalade,
Shuggie Otis,
Sarah Menescal,
Hasil Adkins,
Khruangbin,
Con Funk Shun,
Cecil Taylor,
The Searchers,
Iggy Pop,
Magma,
In Retrospect,
Reuben Wilson,
Electric Light Orchestra,
Index,
New York Dolls,
Bush Tetras,
Popol Vuh,
Gregory Isaacs,
Kenny Larkin,
Tomorrow,
Terror Squad Feat. Camron,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.