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 Cyprus and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
I'm losing my edge to the art-school Spokane 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Siglo XX to the grime 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 Slave. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Popol Vuh 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 '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Pussy Galore,
The Slits,
Bronski Beat,
Adolescents,
Kool Moe Dee,
Nas,
the Bar-Kays,
The Standells,
Kerri Chandler,
Sandy B,
The Fugs,
Art Ensemble Of Chicago,
Cymande,
Qualms,
The Fire Engines,
Boz Scaggs,
Rosa Yemen,
Siglo XX,
Bobby Hutcherson,
The Barracudas,
Ten City,
Faraquet,
Blossom Toes,
Kas Product,
Pet Shop Boys,
Popol Vuh,
Bush Tetras,
Bobbi Humphrey,
Rakim,
Tommy Roe,
Fluxion,
Matthew Bourne,
Dual Sessions,
Infiniti,
Fear,
Monks,
Trumans Water,
Outsiders,
Simply Red,
Sonic Youth,
Radiohead,
Marc Romboy vs. Booka Shade,
Urselle,
Tom Boy,
The Angels of Light,
Fela Kuti,
The Dirtbombs,
Cal Tjader,
Gil Scott-Heron & Brian Jackson,
Steve Hackett,
The Mighty Diamonds,
The Techniques,
The Music Machine,
Kurtis Blow,
Sonny Sharrock,
Bizarre Inc.,
The Alarm Clocks,
The Doors,
Gerry Rafferty,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.