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 Vietnam and from Milan.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Lyon and Houston.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Procol Harum to the punk kids.
I played it at the Troubador.
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 Stetsasonic. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal grunge 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Dark Day,
Youth Brigade,
Roy Ayers,
Sonny Sharrock,
Dorothy Ashby,
The Dirtbombs,
Newcleus,
Essential Logic,
Bob Dylan,
John Foxx,
The Royal Family And The Poor,
Rosa Yemen,
Animal Collective,
Lou Christie,
Theoretical Girls,
Carl Craig,
A Certain Ratio,
Robert Görl,
Aswad,
Average White Band,
LL Cool J,
The Sound,
Fugazi,
ABC,
Marc Romboy vs. Booka Shade,
Bauhaus,
E-Dancer,
The Black Dice,
Gregory Isaacs,
Echo & the Bunnymen,
Funky Four + One,
Pierre Henry,
Wighnomy Brothers & Robag Wruhme,
Gabor Szabo,
Can,
Alton Ellis,
Eli Mardock,
The Skatalites,
Siouxsie and the Banshees,
cv313,
Lebanon Hanover,
Nas,
Sexual Harrassment,
Sex Pistols,
Harry Pussy,
Ludus,
Tres Demented,
Whodini,
Stetsasonic,
Kerrie Biddell,
Infiniti,
Andrew Ashong & Theo Parrish,
Cybotron,
Morten Harket,
Kauko Röyhkä ja Narttu,
Barclay James Harvest,
The Angels of Light,
EPMD,
Brick,
UT,
New Age Steppers,
Sandy B,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.