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 Philippines and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Lagos.
I'm losing my edge to the art-school Milan 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Shadows of Knight to the jazz kids.
I played it at CBGB's.
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 The Mummies. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Rekid 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
The Dead C,
The Star Department,
The Velvet Underground,
John Coltrane,
The Associates,
Andrew Hill,
Kevin Saunderson,
Eyeless In Gaza,
Minnie Riperton,
Warsaw,
Brand Nubian,
Oppenheimer Analysis,
John Holt,
Laurel Aitken,
Q and Not U,
UT,
Dennis Brown,
Bush Tetras,
Circle Jerks,
The Buckinghams,
The Electric Prunes,
Popol Vuh,
Piero Umiliani,
Surgeon,
Lonnie Liston Smith,
Moebius,
The Offenders,
Big Daddy Kane,
Slick Rick,
Fugazi,
Marmalade,
Toni Rubio,
Freddie Wadling,
Desert Stars,
Camron Feat. Memphis Bleek And Beenie Seigel,
DJ Style,
The Moody Blues,
Ronan,
Rhythm & Sound,
Kaleidoscope,
Gang Green,
Soft Machine,
Infiniti,
Lucky Dragons,
The Smiths,
Cecil Taylor,
FM Einheit,
Dark Day,
Vladislav Delay,
Oneida,
8 Eyed Spy,
Ultravox,
Eric B and Rakim,
Deadbeat,
Art Ensemble Of Chicago,
Schoolly D,
Wings,
Essential Logic,
KRS-One,
Black Sheep,
Darondo,
Icehouse, Icehouse, Icehouse, Icehouse.
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.