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 Swaziland and from Lille.
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 1970.
I'm losing my edge.
To all the kids in Accra and Mexico City.
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 mellotron 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 Röyhkä ja Rättö ja Lehtisalo to the rock 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 Cybotron. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every The Royal Family And The Poor 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The Mighty Diamonds,
Lee Hazlewood,
The Zeros,
Deadbeat,
The Tremeloes,
Main Source,
Strawberry Alarm Clock,
Henry Cow,
Red Lorry Yellow Lorry,
Ronnie Foster,
The United States of America,
Brand Nubian,
Kerrie Biddell,
Pharoah Sanders,
Patti Smith,
Scratch Acid,
Stetsasonic,
Ludus,
Accadde A,
Oblivians,
Pylon,
Vladislav Delay,
Lebanon Hanover,
The Star Department,
Warsaw,
Soul II Soul,
Amon Düül II,
Gian Franco Pienzio,
The Leaves,
Rod Modell,
Judy Mowatt,
Cal Tjader,
Bobbi Humphrey,
Royal Trux,
Oneida,
Kango’s Stein Massive,
The Mummies,
Rhythm & Sound,
Lucky Dragons,
Drive Like Jehu,
Frankie Knuckles,
Echo & the Bunnymen,
Sly & The Family Stone,
Jesper Dahlback,
Terror Squad Feat. Camron,
Derrick Morgan,
Fear,
La Düsseldorf,
Public Image Ltd.,
The Sound,
The Martian,
Cymande,
New York Dolls,
Kerri Chandler,
Ultra Naté,
Soft Cell,
Heavy D & The Boyz,
Visionaries,LMNO, T- Love & Iriscience,
The Vogues,
Kenny Larkin,
Fela Kuti,
Sixth Finger, Sixth Finger, Sixth Finger, Sixth Finger.
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.