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 Burundi and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Mexico City and Woodstock.
I'm losing my edge to the art-school Toronto 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 sitar 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 Minnie Riperton to the techno kids.
I played it at the Hacienda.
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 Cecil Taylor. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal disco 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
D'Angelo,
The Fortunes,
Aaron Thompson,
Radio Birdman,
Quando Quango,
Crispian St. Peters,
The Detroit Cobras,
Bobby Womack,
Camberwell Now,
The Selecter,
JFA,
Shoche,
Guru Guru,
Prince Buster,
UT,
Cluster,
Sparks,
Aural Exciters,
Visage,
Marc Romboy vs. Booka Shade,
Alphaville,
Sandy B,
Kings Of Tomorrow,
Bobbi Humphrey,
Camouflage,
Animal Collective,
Dr. Dre and Snoop Doggy Dog,
Josef K,
Johnny Clarke,
Lizzy Mercier Descloux,
the Swans,
Symarip,
Pole,
F. McDonald,
Khruangbin,
Al Stewart,
Altered Images,
Accadde A,
Siouxsie and the Banshees,
Goldenarms,
Swell Maps,
Louis and Bebe Barron,
Sister Nancy,
Sixth Finger,
The Cowsills,
The Neon Judgement,
Rhythm & Sound,
Black Bananas,
Excepter,
Derrick May,
Royal Trux,
The Gap Band,
Babytalk,
In Retrospect,
The Pop Group,
Bobby Hutcherson,
B.T. Express,
Wings,
Dark Day,
Ultravox,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.