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 Djibouti and from Philadelphia.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 West Coast Pop Art Experimental Band to the dance kids.
I played it at Cafe Wha.
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 Easy Going. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal jazz 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
Roy Ayers,
The Mummies,
Yaz,
Al Stewart,
The Wake,
The Busters,
Derrick Morgan,
Babytalk,
Connie Case,
Minnie Riperton,
Alphaville,
Grey Daturas,
Sugar Minott,
Kenny Larkin,
Infiniti,
Selector Dub Narcotic,
Marmalade,
Man Eating Sloth,
Cabaret Voltaire,
Lebanon Hanover,
Throbbing Gristle,
Jeff Mills,
Johnny Osbourne,
Newcleus,
Marvin Gaye,
Black Flag,
Lee Hazlewood,
Todd Rundgren,
Jeff Lynne,
Grandmaster Flash and the Furious Five,
Rhythm & Sound,
Shuggie Otis,
Yusef Lateef,
Negative Approach,
The Electric Prunes,
Monks,
Rekid,
Delta 5,
Adolescents,
The Doors,
cv313,
The Golliwogs,
The Techniques,
Parry Music,
Cheater Slicks,
Cybotron,
La Düsseldorf,
Chris & Cosey,
X-Ray Spex,
Neil Young & Crazy Horse,
Avey Tare & Kría Brekkan,
The Kinks,
Skarface,
Funky Four + One,
Joensuu 1685,
Skriet,
Brick,
Bootsy Collins,
Bill Wells,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.