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 Cuba and from Lyon.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Accra 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Echo & the Bunnymen to the techno 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 Beau Brummels. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every The Dead C record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Unwound,
Blake Baxter,
Red Lorry Yellow Lorry,
X-102,
the Fania All-Stars,
Model 500,
Ponytail,
The Barracudas,
Sixth Finger,
New Order,
Khruangbin,
Idris Muhammad,
The Zeros,
Hot Snakes,
The Beau Brummels,
Gastr Del Sol,
The Misunderstood,
Eurythmics,
R.M.O.,
Basic Channel,
Gichy Dan,
Isaac Hayes,
Janne Schatter,
Fluxion,
Brick,
Interpol,
Pharoah Sanders,
The Human League,
Silicon Teens,
Stetsasonic,
Underground Resistance,
Pete Rock & C.L. Smooth,
Godley & Creme,
Spoonie Gee,
Sam Rivers,
Nation of Ulysses,
Cabaret Voltaire,
Jawbox,
Ken Boothe,
The Doobie Brothers,
Reuben Wilson,
Mandrill,
Stockholm Monsters,
The Real Kids,
Bad Manners,
Tommy Roe,
Panda Bear,
Kayak,
cv313,
Lalann,
Dawn Penn,
Gang Gang Dance,
Steve Hackett,
Public Image Ltd.,
Quantec,
Eden Ahbez,
Camron Feat. Jay Z And Juelz,
Strawberry Alarm Clock,
Sly & The Family Stone,
David Bowie,
Sunsets and Hearts,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.