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 Germany and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Manchester and London.
I'm losing my edge to the art-school Madrid 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Urselle to the crunk kids.
I played it at CBGB's.
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 Detroit Cobras. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Junior Murvin,
Gil Scott-Heron and Jamie xx,
Nik Kershaw,
Sound Behaviour,
Kango’s Stein Massive,
Barclay James Harvest,
Charles Mingus,
Chris & Cosey,
Rufus Thomas,
Gregory Isaacs,
China Crisis,
Beasts of Bourbon,
Matthew Bourne,
Funkadelic,
Bizarre Inc.,
Alphaville,
Soul II Soul,
The Velvet Underground,
Half Japanese,
Black Flag,
Bootsy Collins,
Cybotron,
Radiopuhelimet,
The Mummies,
Little Man,
The Star Department,
The Dave Clark Five,
De La Soul & Jungle Brothers,
Notorious Big And Bone Thugs,
Make Up,
Black Moon,
Ludus,
Prince Buster,
Masters at Work,
Connie Case,
Maurizio,
Red Lorry Yellow Lorry,
Avey Tare's Slasher Flicks,
Rapeman,
Camberwell Now,
A Certain Ratio,
KRS-One,
Bobby Byrd,
Alison Limerick,
Japan,
Faraquet,
the Association,
The Martian,
Donny Hathaway,
Clear Light,
Magazine,
U.S. Maple,
AZ,
The Five Americans,
Johnny Clarke,
Silicon Teens,
Basic Channel,
The Misunderstood,
Scott Walker,
Soul Sonic Force,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.