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 Greece and from Delhi.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Taipei and Cairo.
I'm losing my edge to the art-school London 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 organ sounds with much patience.
I was there when Nile Rodgers 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 Sandy B to the grime 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 World's Most. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Man Parrish,
Junior Murvin,
The Smiths,
Johnny Clarke,
Thinking Fellers Union Local 282,
Country Teasers,
John Coltrane,
Loose Ends,
Pet Shop Boys,
Cal Tjader,
Ultra Naté,
Suicide,
Max Romeo,
Flash Fearless,
Fad Gadget,
Gong,
The Slits,
June Days,
Throbbing Gristle,
Jacob Miller,
Half Japanese,
New Order,
Reagan Youth,
Tommy Roe,
New York Dolls,
The Leaves,
Second Layer,
The Cowsills,
X-Ray Spex,
Vaughan Mason & Crew,
James White and The Blacks,
Ossler,
The Fortunes,
Siglo XX,
The Mojo Men,
Gang Gang Dance,
The Fuzztones,
Mary Jane Girls,
Joensuu 1685,
The Saints,
Public Enemy,
Gabor Szabo,
Hot Snakes,
The Cosmic Jokers,
The Gun Club,
R.M.O.,
Roxette,
Minutemen,
Section 25,
Liaisons Dangereuses,
Bobby Sherman,
Fort Wilson Riot,
the Soft Cell,
Judy Mowatt,
Sugar Minott,
The Pretty Things,
Cecil Taylor,
Scan 7,
Rhythm & Sound,
Bang on a Can All-Stars,
The Trojans, The Trojans, The Trojans, The Trojans.
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.