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 Micronesia and from Bologna.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Toronto 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 Sly & The Family Stone to the electroclash kids.
I played it at the 40 Watt.
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 Fela Kuti. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s 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 Marmalade record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
The Moody Blues,
Bad Manners,
Heaven 17,
Alice Coltrane,
Cabaret Voltaire,
Funky Four + One,
Hashim,
Lou Christie,
Robert Hood,
Supertramp,
Robert Görl,
Interpol,
ABC,
Pantaleimon,
The Divine Comedy,
Justin Hinds & The Dominoes,
Yusef Lateef,
Marcia Griffiths,
Wire,
The Doors,
Josef K,
Avey Tare's Slasher Flicks,
Quando Quango,
Graham Central Station,
Manfred Mann's Earth Band,
Pharoah Sanders,
Audionom,
The Blues Magoos,
Ultra Naté,
Tim Buckley,
Darondo,
Mark Hollis,
Kauko Röyhkä ja Narttu,
Skarface,
China Crisis,
Ornette Coleman,
Lalo Schifrin,
H. Thieme,
Magma,
Massinfluence,
The Pretty Things,
Scan 7,
Pierre Henry,
Lindisfarne,
One Last Wish,
The Index,
Anthony Braxton,
Lizzy Mercier Descloux,
Connie Case,
Agent Orange,
The Five Americans,
LL Cool J,
David Axelrod,
Delta 5,
the Fania All-Stars,
Maleditus Sound,
Flipper,
Sarah Menescal,
Yaz,
Lonnie Liston Smith,
Scratch Acid,
Procol Harum,
The Remains, The Remains, The Remains, The Remains.
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.