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 South Africa and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
I'm losing my edge to the art-school Accra 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Roy Ayers to the rap 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 Brothers Johnson. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
The Names,
The Music Machine,
The Dead C,
Guru Guru,
Dual Sessions,
Nick Fraelich,
Visage,
The Gun Club,
Bobby Womack,
The Blackbyrds,
Hot Snakes,
Basic Channel,
Man Parrish,
The Count Five,
The United States of America,
Half Japanese,
Louis and Bebe Barron,
Pantaleimon,
The Red Krayola,
Connie Case,
John Foxx,
Ten City,
Terry Callier,
Moss Icon,
Gang of Four,
Pharoah Sanders,
The J.B.'s,
Supertramp,
Stiv Bators,
Rhythim Is Rhythim,
The American Breed,
Bobby Sherman,
Bang on a Can All-Stars,
Tres Demented,
Arab on Radar,
Matthew Halsall,
the Bar-Kays,
Al Stewart,
The Slackers,
One Last Wish,
Essential Logic,
The Cosmic Jokers,
Motorama,
The Evens,
The Jesus and Mary Chain,
Soulsonic Force,
Siglo XX,
Deutsch Amerikanische Freundschaft,
The Stooges,
Stereo Dub,
Richard Hell and the Voidoids,
The Cowsills,
Marshall Jefferson,
Gastr Del Sol,
The Walker Brothers,
June of 44,
Lindisfarne,
The Pop Group,
The Searchers,
Masters at Work,
Siouxsie and the Banshees,
The Blues Magoos,
The Raincoats,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.