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 Finland and from Johannesburg.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
I'm losing my edge to the art-school Paris 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Grass Roots to the funk kids.
I played it at the Spitz.
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 Erasure. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Barrington Levy,
Alison Limerick,
F. McDonald,
Motorama,
Susan Cadogan,
Maleditus Sound,
Nick Cave & The Bad Seeds,
Panda Bear,
Tropical Tobacco,
Pussy Galore,
Sparks,
The Blues Magoos,
The Fortunes,
Johnny Osbourne,
Banda Bassotti,
Con Funk Shun,
Cluster,
A Certain Ratio,
These Immortal Souls,
The Move,
Pete Rock & C.L. Smooth,
Magazine,
48th St. Collective,
Ludus,
Mo-Dettes,
Von Mondo,
X-Ray Spex,
Avey Tare's Slasher Flicks,
Black Moon,
Vaughan Mason & Crew,
Warsaw,
Hasil Adkins,
Slick Rick,
This Heat,
Roy Ayers,
Trumans Water,
Davy DMX,
Peter Gordon & Love of Life Orchestra,
Zapp,
Cecil Taylor,
Infiniti,
Jeff Lynne,
Andrew Ashong & Theo Parrish,
Dawn Penn,
Dorothy Ashby,
Urselle,
Aloha Tigers,
Peter and Kerry,
Popol Vuh,
Schoolly D,
Q65,
Glambeats Corp.,
Q and Not U,
Parry Music,
The Human League,
Brand Nubian,
Sight & Sound,
Rufus Thomas,
Kayak,
Unwound,
La Düsseldorf,
The New Christs,
Echospace, Echospace, Echospace, Echospace.
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.