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 Panama and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Glasgow 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 spring reverb 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 Au Pairs to the funk kids.
I played it at the Troubador.
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 Joyce Sims. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Curtis Mayfield,
Rites of Spring,
Throbbing Gristle,
Roxette,
Avey Tare,
Thinking Fellers Union Local 282,
Whodini,
Black Sheep,
Severed Heads,
Fad Gadget,
Second Layer,
The Men They Couldn't Hang,
The Kinks,
Moebius,
Jimmy McGriff,
Alice Coltrane,
London Community Gospel Choir,
The Fortunes,
Bluetip,
Blossom Toes,
Black Pus,
Heaven 17,
Schoolly D,
The Mighty Diamonds,
Depeche Mode,
Black Moon,
Rakim,
48th St. Collective,
Masters at Work,
Sister Nancy,
Avey Tare & Kría Brekkan,
Radiopuhelimet,
Deutsch Amerikanische Freundschaft,
Manfred Mann's Earth Band,
Brass Construction,
The Residents,
Theoretical Girls,
The Dirtbombs,
Gang Green,
K-Klass,
Wolf Eyes,
Zapp,
Scratch Acid,
Agitation Free,
Thompson Twins,
Faust,
Robert Hood,
X-102,
the Germs,
Kevin Saunderson,
Slick Rick,
Camberwell Now,
JFA,
Surgeon,
the Human League,
Sticky Fingaz feat. Raekwon,
John Cale,
Sad Lovers and Giants,
Pere Ubu,
Symarip,
H. Thieme,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.