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 Czech Republic and from London.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Johannesburg 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 sitar sounds with much patience.
I was there when Donald Fagen 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 EPMD to the grime 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 The Selecter. All the underground hits.
All Captain Beefheart & His Magic Band tracks. I heard you have a vinyl of every Arab on Radar 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 '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
D'Angelo,
Robert Wyatt,
Brick,
Radio Birdman,
Graham Central Station,
Deadbeat,
the Soft Cell,
Peter & Gordon,
Iggy Pop,
The Martian,
Eric Copeland,
Steve Hackett,
Donny Hathaway,
Electric Light Orchestra,
Todd Rundgren,
The Doors,
The Royal Family And The Poor,
Dorothy Ashby,
Chrome,
Warsaw,
Soul II Soul,
Fad Gadget,
DeepChord presents Echospace,
Cybotron,
Jawbox,
Stockholm Monsters,
Moby Grape,
Tommy Roe,
The Techniques,
Glambeats Corp.,
Urselle,
Television Personalities,
Minnie Riperton,
Sonic Youth,
Ornette Coleman,
It's A Beautiful Day,
Whodini,
X-101,
Black Flag,
H. Thieme,
Silicon Teens,
Visage,
Circle Jerks,
Angry Samoans,
Ajijia Myrayebe,
Ultramagnetic MC's,
The Offenders,
Metal Thangz,
Boredoms,
Morten Harket,
Richard Hell and the Voidoids,
Easy Going,
Anakelly,
Amon Düül II,
Soulsonic Force,
Jeru the Damaja,
Lungfish,
The Raincoats,
Arthur Verocai,
Cluster,
the Normal,
Pantaleimon,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.