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 Afghanistan and from Hong Kong.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Portland and Salvador.
I'm losing my edge to the art-school Woodstock 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 marimba sounds with much patience.
I was there when David Bowie 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 Lonnie Liston Smith to the rap kids.
I played it at the 40 Watt.
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 Camron Feat. Jay Z And Juelz. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Blossom Toes,
Marvin Gaye,
Don Cherry,
James White and The Blacks,
Archie Shepp,
Louis and Bebe Barron,
Lyres,
The American Breed,
the Human League,
The Alarm Clocks,
It's A Beautiful Day,
Intrusion,
Eric B and Rakim,
Subhumans,
The Leaves,
Pharaoh Sanders and the Fire Engines,
Janne Schatter,
Clear Light,
Alphaville,
Rhythim Is Rhythim,
Parry Music,
Dark Day,
Gerry Rafferty,
The Tremeloes,
Rites of Spring,
The Chocolate Watch Band,
Maurizio,
Smog,
Justin Hinds & The Dominoes,
Grandmaster Flash,
Stetsasonic,
Ken Boothe,
The Star Department,
Michelle Simonal,
Zapp,
Agitation Free,
The Slackers,
Henry Cow,
Suburban Knight,
Peter Gordon & Love of Life Orchestra,
Saccharine Trust,
Reagan Youth,
Cameo,
Niagra,
Talk Talk,
Sonny Sharrock,
Lafayette Afro Rock Band,
Lee Hazlewood,
The Grass Roots,
AZ,
Amon Düül II,
Porter Ricks,
Terrestrial Tones,
Minnie Riperton,
Von Mondo,
The Associates,
The Flesh Eaters,
Ohio Players,
Fort Wilson Riot,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.