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 Syria and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Judy Mowatt to the rap 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 The Detroit Cobras. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Harmonia 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
The United States of America,
Scott Walker,
The Peanut Butter Conspiracy,
Pete Rock & C.L. Smooth,
Tomorrow,
KRS-One,
Youth Brigade,
the Germs,
Wire,
Desert Stars,
Franke,
Groovy Waters,
Ice-T,
kango's stein massive,
Dorothy Ashby,
Loose Ends,
Make Up,
Throbbing Gristle,
Anakelly,
Theoretical Girls,
Larry & the Blue Notes,
Donny Hathaway,
Tears for Fears,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fatback Band,
Moss Icon,
Oppenheimer Analysis,
The Techniques,
The Jesus and Mary Chain,
The Detroit Cobras,
Gang of Four,
Marmalade,
Reagan Youth,
Joey Negro,
The Red Krayola,
The Slits,
Louis and Bebe Barron,
Nik Kershaw,
David Axelrod,
Boz Scaggs,
Babytalk,
Junior Murvin,
Barbara Tucker,
Bobbi Humphrey,
Average White Band,
Richard Hell and the Voidoids,
Kerrie Biddell,
China Crisis,
London Community Gospel Choir,
David McCallum,
The Wake,
Terry Callier,
The Fire Engines,
EPMD,
DJ Sneak,
The Dead C,
Jeru the Damaja,
Orchestral Manoeuvres in the Dark,
Urselle,
Neil Young, Neil Young, Neil Young, Neil Young.
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.