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 France and from Mumbai.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Johannesburg 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 Human League practice in a loft in Sheffield.
I was working on the theremin 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 Martian to the rap kids.
I played it at the Astoria.
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 Cymande. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Newcleus 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
The Fortunes,
Rosa Yemen,
UT,
Saccharine Trust,
Electric Light Orchestra,
John Holt,
the Fania All-Stars,
Blake Baxter,
Gil Scott-Heron & Brian Jackson,
Ice-T,
Echospace,
Lebanon Hanover,
Peter & Gordon,
Con Funk Shun,
The Mojo Men,
Selector Dub Narcotic,
Hashim,
Popol Vuh,
The Saints,
China Crisis,
The Cowsills,
Aural Exciters,
Au Pairs,
Pole,
Theoretical Girls,
The Pop Group,
Groovy Waters,
The Fugs,
John Coltrane,
Babytalk,
Drexciya,
Johnny Clarke,
Lower 48,
Major Organ And The Adding Machine,
Lee Hazlewood,
Porter Ricks,
Grey Daturas,
48th St. Collective,
Visage,
New Order,
The Cramps,
Gil Scott-Heron and Jamie xx,
Andrew Hill,
The Mummies,
Das Ding,
Slick Rick,
Sugar Minott,
Average White Band,
Harry Pussy,
One Last Wish,
X-Ray Spex,
Dark Day,
Khruangbin,
Be Bop Deluxe,
DJ Style,
Thinking Fellers Union Local 282,
The Happenings,
Idris Muhammad,
Graham Central Station,
Cameo,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.