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 Micronesia and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Madrid and Milan.
I'm losing my edge to the art-school Salvador 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 mellotron 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 Roy Ayers Ubiquity to the rap kids.
I played it at Cafe Wha.
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 Patti Smith. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Colin Newman 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 Blackbyrds,
Shuggie Otis,
Khruangbin,
Young Marble Giants,
Unrelated Segments,
Symarip,
Rufus Thomas,
Tears for Fears,
The Kinks,
Barry Ungar,
Gastr Del Sol,
The Angels of Light,
Bronski Beat,
Traffic Nightmare,
Hoover,
The West Coast Pop Art Experimental Band,
Severed Heads,
Patti Smith,
Nation of Ulysses,
Terry Callier,
Maleditus Sound,
Wolf Eyes,
the Fania All-Stars,
Icehouse,
Fatback Band,
The Cowsills,
Pagans,
Byron Stingily,
Fad Gadget,
Talk Talk,
Graham Central Station,
Ralphi Rosario,
the Association,
The Techniques,
Mo-Dettes,
Sun City Girls,
Rekid,
Cybotron,
Throbbing Gristle,
Oneida,
Notorious BIG live in Amsterdam,
Pulsallama,
Jeru the Damaja,
Theoretical Girls,
Anthony Braxton,
48th St. Collective,
Stetsasonic,
Johnny Osbourne,
Fifty Foot Hose,
Wings,
Skaos,
Ultra Naté,
Beasts of Bourbon,
Idris Muhammad,
Roxy Music,
Easy Going,
Gang of Four,
Major Organ And The Adding Machine,
DJ Style,
FM Einheit,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.