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 Morocco and from Manchester.
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 1971.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 The Red Krayola to the punk kids.
I played it at the Astoria.
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 Notorious BIG live in Amsterdam. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
Matthew Halsall,
Drive Like Jehu,
Black Pus,
The Offenders,
a-ha,
Jawbox,
Man Parrish,
Slick Rick,
Minor Threat,
Max Romeo,
Infiniti,
The Gun Club,
Trumans Water,
Lee Hazlewood,
Wire,
Second Layer,
Scion,
The Searchers,
Theoretical Girls,
Sugar Minott,
Black Flag,
Marvin Gaye,
Average White Band,
Gil Scott-Heron and Jamie xx,
The Shadows of Knight,
Brand Nubian,
Joensuu 1685,
Guru Guru,
Dorothy Ashby,
Marc Romboy vs. Booka Shade,
X-101,
Television Personalities,
Janne Schatter,
Visage,
Sällskapet,
Ronnie Foster,
The Doors,
Wasted Youth,
Excepter,
Peter and Kerry,
Flamin' Groovies,
Oblivians,
Davy DMX,
Ponytail,
Peter & Gordon,
Underground Resistance,
Buzzcocks,
Sunsets and Hearts,
Marine Girls,
The Seeds,
Traffic Nightmare,
Rhythm & Sound,
Connie Case,
EPMD,
cv313,
Saccharine Trust,
Whodini,
London Community Gospel Choir,
Electric Light Orchestra,
Quadrant,
Johnny Osbourne,
Sonny Sharrock,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.