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 Cape Verde and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 chamberlin 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 The Star Department to the rock kids.
I played it at the Crocodile.
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 Bad Manners. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Trumans Water 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Charles Mingus,
London Community Gospel Choir,
Rekid,
Deakin,
Barrington Levy,
Mo-Dettes,
Ajijia Myrayebe,
Kool Moe Dee,
Gastr Del Sol,
The Stooges,
Bob Dylan,
DNA,
Joey Negro,
The Remains,
Lee Hazlewood,
Mars,
Gil Scott-Heron & Brian Jackson,
Kevin Saunderson,
Faraquet,
Boogie Down Productions,
Radio Birdman,
Pete Rock & C.L. Smooth,
Index,
Lyres,
Young Marble Giants,
Swans,
The Young Rascals,
The Residents,
The Trojans,
Lightning Bolt,
Essential Logic,
Chrome,
Donald Byrd,
Skriet,
Pharoah Sanders,
the Soft Cell,
The Mojo Men,
Deadbeat,
Pylon,
Funkadelic,
Wings,
Parry Music,
Camron Feat. Jay Z And Juelz,
Sunsets and Hearts,
Neu!,
A Certain Ratio,
Make Up,
Jacques Brel,
Bobby Sherman,
Q and Not U,
Rhythim Is Rhythim,
Bobby Byrd,
Yazoo,
Bootsy Collins,
One Last Wish,
Jerry Gold Smith,
The Barracudas,
Derrick Morgan,
Toni Rubio,
Fifty Foot Hose,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.