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 Bahrain and from Lyon.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school Accra 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 1973 at the first Television practice in a loft in New York.
I was working on the sitar 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 Urselle to the crunk kids.
I played it at Trash.
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 Donald Byrd. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Heavy D & The Boyz 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 '70s 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 Eric B and Rakim record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Mark Hollis,
Louis and Bebe Barron,
Big Daddy Kane,
Lee Hazlewood,
Guru Guru,
The J.B.'s,
Darondo,
Rosa Yemen,
The Fuzztones,
Stetsasonic,
Basic Channel,
Negative Approach,
John Foxx,
Metal Thangz,
Charles Mingus,
The Music Machine,
Sun City Girls,
Stockholm Monsters,
Peter & Gordon,
Kango’s Stein Massive,
Spoonie Gee,
Ajijia Myrayebe,
Ossler,
Gichy Dan,
Sunsets and Hearts,
The Happenings,
The United States of America,
Ronan,
Hashim,
Grauzone,
Lou Reed,
Bang On A Can,
Silicon Teens,
Flash Fearless,
Blancmange,
The Knickerbockers,
Dr. Dre and Snoop Doggy Dog,
Mars,
The Trojans,
DNA,
Audionom,
Soft Machine,
The Cure,
Animal Collective,
Arthur Verocai,
Robert Hood,
The Last Poets,
Iggy Pop,
Visionaries,LMNO, T- Love & Iriscience,
Jerry Gold Smith,
David McCallum,
Section 25,
UT,
Minny Pops,
Bootsy's Rubber Band,
The Blues Magoos,
The Mojo Men,
Colin Newman,
Amon Düül II,
Model 500, Model 500, Model 500, Model 500.
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.