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 Suriname and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Lyon.
I'm losing my edge to the art-school Madrid 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Gap Band to the funk kids.
I played it at the Crocodile.
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 Brand Nubian. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
The Offenders,
Bobby Womack,
Matthew Bourne,
Jacques Brel,
Los Fastidios,
Massinfluence,
Interpol,
Sex Pistols,
The Skatalites,
Davy DMX,
U.S. Maple,
Fatback Band,
Schoolly D,
Yellowson,
Crispian St. Peters,
The Misunderstood,
Hardrive,
Ice-T,
Mr. Review,
The Litter,
This Heat,
Radio Birdman,
Quadrant,
Bush Tetras,
Boz Scaggs,
L. Decosne,
Avey Tare & Kría Brekkan,
Eric Copeland,
Livin' Joy,
Wighnomy Brothers & Robag Wruhme,
Talk Talk,
Jimmy McGriff,
Nation of Ulysses,
Wasted Youth,
Richard Hell and the Voidoids,
Gang Gang Dance,
Ajijia Myrayebe,
Lee Hazlewood,
Zero Boys,
Faraquet,
Rakim,
Gerry Rafferty,
Oblivians,
The United States of America,
Terrestrial Tones,
Nas,
Thee Headcoats,
The Velvet Underground,
Darondo,
Erasure,
Bluetip,
Soulsonic Force,
Ralphi Rosario,
Bang On A Can,
Tom Boy,
Red Lorry Yellow Lorry,
James Chance & The Contortions,
Echospace,
Agent Orange,
Section 25, Section 25, Section 25, Section 25.
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.