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 Armenia and from Madrid.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Columbus 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Zero Boys to the electroclash 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 Sunsets and Hearts. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
The Dead C,
The United States of America,
the Soft Cell,
Yaz,
Stetsasonic,
Minnie Riperton,
Idris Muhammad,
Cluster,
Soul II Soul,
Maurizio,
Jawbox,
Buzzcocks,
Spoonie Gee,
Guru Guru,
The Move,
Rakim,
The Monochrome Set,
Soul Sonic Force,
Quadrant,
Sun City Girls,
Main Source,
Funky Four + One,
Robert Wyatt,
Robert Görl,
Fluxion,
The Angels of Light,
Todd Terry,
Anthony Braxton,
Janne Schatter,
Visionaries,LMNO, T- Love & Iriscience,
Letta Mbulu,
The Doors,
Mission of Burma,
Ultra Naté,
MDC,
The Toasters,
The Fugs,
Teenage Jesus and the Jerks,
Peter Gordon & Love of Life Orchestra,
Crime,
Eric B and Rakim,
Animal Collective,
CMW,
Thee Headcoats,
Bad Manners,
Eyeless In Gaza,
The Cramps,
Brass Construction,
Suicide,
Kurtis Blow,
Zero Boys,
Blancmange,
Joyce Sims,
DJ Style,
Terry Callier,
T. Rex,
Suburban Knight,
Siglo XX,
Sugar Minott,
Black Bananas,
Soft Cell,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.