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 Algeria and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Lille and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Sonny Sharrock to the grime kids.
I played it at the Roxy.
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 Ralphi Rosario. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Funkadelic 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Peter & Gordon,
DNA,
Dawn Penn,
Unwound,
The Victims,
The Cure,
Sonny Sharrock,
Terry Callier,
The Cosmic Jokers,
Essential Logic,
Gregory Isaacs,
Vainqueur,
Mission of Burma,
Cabaret Voltaire,
Man Eating Sloth,
Procol Harum,
kango's stein massive,
Electric Prunes,
Todd Terry,
Bush Tetras,
UT,
John Holt,
Marc Romboy vs. Booka Shade,
Radiohead,
Main Source,
Eden Ahbez,
Nik Kershaw,
Rowland S Howard / Lydia Lunch,
Eric B and Rakim,
Fifty Foot Hose,
Red Lorry Yellow Lorry,
The Misunderstood,
Ultramagnetic MC's,
Drive Like Jehu,
Half Japanese,
Maurizio,
T.S.O.L.,
Brothers Johnson,
Moss Icon,
Marvin Gaye,
Johnny Osbourne,
Judy Mowatt,
Rhythm & Sound,
The Gun Club,
The Monks,
Kool G Rap & DJ Polo,
Alice Coltrane,
Porter Ricks,
The Star Department,
Lungfish,
Kerri Chandler,
Ralphi Rosario,
The Invisible,
Avey Tare's Slasher Flicks,
Trumans Water,
Soft Cell,
Blake Baxter,
Bobby Sherman,
Harpers Bizarre,
Negative Approach,
Rod Modell,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.