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 Slovakia and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Bremen 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 clarinet 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 Popol Vuh 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 Joe Smooth. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every Half Japanese 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
John Lydon,
New York Dolls,
Camouflage,
The Grass Roots,
Ultramagnetic MC's,
The Victims,
Boz Scaggs,
Terrestrial Tones,
T. Rex,
The Skatalites,
Maurizio,
Sparks,
Bauhaus,
Boredoms,
Leonard Cohen,
Khruangbin,
Mark Hollis,
Danielle Patucci,
Pulsallama,
Buzzcocks,
Vladislav Delay,
Thee Headcoats,
Supertramp,
Tommy Roe,
Flipper,
Fatback Band,
Cecil Taylor,
Jerry's Kids,
Girls At Our Best!,
Pantaleimon,
Moss Icon,
Inner City,
Schoolly D,
Quando Quango,
Chrome,
Beasts of Bourbon,
Moby Grape,
Neu!,
Electric Light Orchestra,
Lindisfarne,
Big Daddy Kane,
AZ,
the Association,
Art Ensemble Of Chicago,
Grandmaster Flash and the Furious Five,
Lalo Schifrin,
Shoche,
Man Parrish,
Bad Manners,
Peter and Kerry,
Bill Wells,
Ronan,
The Black Dice,
Simply Red,
Lightning Bolt,
Dennis Brown,
The Fortunes,
The Moody Blues,
Soft Machine,
Echo & the Bunnymen,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.