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 Guinea and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1979.
I'm losing my edge.
To all the kids in Portland and Columbus.
I'm losing my edge to the art-school New York 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 marimba 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 Clear Light to the jazz 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 Brothers Johnson. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Rufus Thomas,
the Human League,
The Martian,
The Associates,
Tomorrow,
Robert Görl,
Camberwell Now,
Main Source,
Hot Snakes,
The Searchers,
Ultra Naté,
JFA,
Gil Scott-Heron & Brian Jackson,
The Mojo Men,
Motorama,
The Music Machine,
Oblivians,
CMW,
Brand Nubian,
Slick Rick,
Popol Vuh,
Boogie Down Productions,
Quantec,
Rod Modell,
Nas,
Public Enemy,
The Victims,
Soul Sonic Force,
Japan,
Bizarre Inc.,
John Cale,
Sister Nancy,
The Peanut Butter Conspiracy,
Soul II Soul,
Davy DMX,
Tears for Fears,
Ice-T,
Au Pairs,
James Chance & The Contortions,
Oneida,
Bang On A Can,
Crime,
Scion,
The Cramps,
Cal Tjader,
Ten City,
Black Pus,
The Young Rascals,
Matthew Halsall,
Glambeats Corp.,
F. McDonald,
Adolescents,
Todd Rundgren,
DNA,
Faraquet,
Porter Ricks,
Inner City,
Black Moon,
Grandmaster Flash and the Furious Five,
Nick Fraelich,
Gong,
Barry Ungar,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.