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 Brazil and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
I'm losing my edge to the art-school Manchester 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Kenny Larkin to the rock 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 Vaughan Mason & Crew. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Kool Moe Dee 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 '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a David Bowie record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Marcia Griffiths,
Bobbi Humphrey,
Radio Birdman,
Erykah Badu,
Pagans,
Swans,
Kool Moe Dee,
Soulsonic Force,
Avey Tare,
Ronnie Foster,
The Dave Clark Five,
Stiv Bators,
Animal Collective,
Blossom Toes,
Jesper Dahlbäck,
Magazine,
The Pop Group,
The Searchers,
Bill Near,
Tropical Tobacco,
Kaleidoscope,
Sex Pistols,
The Gun Club,
Kango’s Stein Massive,
Pharoah Sanders,
John Lydon,
R.M.O.,
Interpol,
Orchestral Manoeuvres in the Dark,
Loose Ends,
Cecil Taylor,
Gang Gang Dance,
Soft Machine,
New Age Steppers,
Sound Behaviour,
Fifty Foot Hose,
Scratch Acid,
Nas,
Graham Central Station,
The Angels of Light,
Electric Light Orchestra,
Johnny Clarke,
Fad Gadget,
Con Funk Shun,
Amon Düül II,
Marc Almond,
Inner City,
The Fortunes,
Gichy Dan,
Chrome,
Dark Day,
Black Sheep,
Roy Ayers,
E-Dancer,
Prince Buster,
A Flock of Seagulls,
Bob Dylan,
Matthew Halsall,
Eric B and Rakim,
Kurtis Blow,
Zero Boys,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.