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 Lagos.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Lyon 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 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 Cecil Taylor to the funk 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 Bootsy's Rubber Band. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Bauhaus 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
MC5,
Scott Walker,
The Cure,
Tubeway Army,
The Moody Blues,
AZ,
Skriet,
Dawn Penn,
Pole,
The Count Five,
The Associates,
The Mighty Diamonds,
Mandrill,
The Names,
Amazonics,
Roy Ayers,
Blake Baxter,
Nik Kershaw,
Mars,
Sound Behaviour,
Monolake,
Gian Franco Pienzio,
Loose Ends,
Bluetip,
Basic Channel,
The Chocolate Watch Band,
The Gories,
Hasil Adkins,
Colin Newman,
Alison Limerick,
Roy Ayers Ubiquity,
Avey Tare,
Donny Hathaway,
R.M.O.,
Gichy Dan,
Animal Collective,
Swell Maps,
Essential Logic,
The Dead C,
Radio Birdman,
FM Einheit,
Bob Dylan,
The Sound,
Rod Modell,
Brand Nubian,
Mary Jane Girls,
Jesper Dahlbäck,
Lyres,
the Fania All-Stars,
Tim Buckley,
Scrapy,
Isaac Hayes,
Erykah Badu,
Magma,
Boogie Down Productions,
Steve Hackett,
Gary Puckett & The Union Gap,
Banda Bassotti,
Ajijia Myrayebe,
The Slits, The Slits, The Slits, The Slits.
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.