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 Malawi and from London.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Mumbai 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 Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Eden Ahbez to the punk kids.
I played it at the Spitz.
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 Jesper Dahlback. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Roy Ayers 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 '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Minor Threat,
Pantytec,
The Skatalites,
Mandrill,
Motorama,
FM Einheit,
Throbbing Gristle,
Gichy Dan,
Subhumans,
The Flesh Eaters,
Archie Shepp,
Eyeless In Gaza,
Alison Limerick,
Mo-Dettes,
Funkadelic,
Max Romeo,
Y Pants,
Heaven 17,
Circle Jerks,
The Grass Roots,
AZ,
Amazonics,
Chrome,
Super Lover Cee & Casanova Rud,
Inner City,
Easy Going,
It's A Beautiful Day,
Danielle Patucci,
Parry Music,
Don Cherry,
Arthur Verocai,
Charles Mingus,
Donald Byrd,
The Walker Brothers,
Harpers Bizarre,
Deutsch Amerikanische Freundschaft,
Magma,
The American Breed,
Franke,
Graham Central Station,
Sugar Minott,
Cabaret Voltaire,
Lindisfarne,
Nation of Ulysses,
Aural Exciters,
Nick Fraelich,
F. McDonald,
Simply Red,
These Immortal Souls,
Joe Finger,
Symarip,
Au Pairs,
Youth Brigade,
Erasure,
June of 44,
Cal Tjader,
Black Pus,
The Alarm Clocks,
Bobby Hutcherson,
The Human League,
Can,
The Barracudas,
Niagra, Niagra, Niagra, Niagra.
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.