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 China and from Winnipeg.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 In Retrospect to the grime kids.
I played it at the Roxy.
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 Yellowson. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Manfred Mann's Earth Band 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Skatalites,
Oppenheimer Analysis,
Funkadelic,
Wolf Eyes,
Masters at Work,
Jeru the Damaja,
Technova,
The Divine Comedy,
Soft Cell,
Terry Callier,
Jacques Brel,
Das Ding,
Gichy Dan,
Steve Hackett,
Pete Rock & C.L. Smooth,
UT,
ABC,
Skarface,
David Bowie,
Nik Kershaw,
Dennis Brown,
L. Decosne,
The Gun Club,
JFA,
The Happenings,
Magma,
Scott Walker,
Public Image Ltd.,
Jerry's Kids,
Anakelly,
Echospace,
Avey Tare,
John Cale,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Mantronix,
Organ,
Tomorrow,
Gabor Szabo,
Nirvana,
Nico,
Zapp,
Mars,
Brick,
Heaven 17,
Joe Smooth,
Cybotron,
Marvin Gaye,
Dead Boys,
The American Breed,
Cecil Taylor,
La Düsseldorf,
The Men They Couldn't Hang,
Marc Romboy vs. Booka Shade,
Yusef Lateef,
Bootsy Collins,
Stockholm Monsters,
Rufus Thomas,
the Sonics,
The Cure,
The Motions,
Brand Nubian,
H. Thieme,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.