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 Malawi and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
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 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 Surgeon to the crunk kids.
I played it at the Troubador.
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 Saccharine Trust. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Soft Machine,
The Move,
Lou Reed & John Cale,
Japan,
Jeru the Damaja,
The Last Poets,
Roy Ayers Ubiquity,
Zero Boys,
Byron Stingily,
Terrestrial Tones,
Chrome,
Oppenheimer Analysis,
Cluster,
Avey Tare & Kría Brekkan,
Terry Callier,
Echo & the Bunnymen,
Peter and Kerry,
Orchestral Manoeuvres in the Dark,
Kayak,
Brick,
Joe Smooth,
Ituana,
Harry Pussy,
Andrew Ashong & Theo Parrish,
Connie Case,
Soulsonic Force,
The Motions,
Donald Byrd,
Heaven 17,
Franke,
Josef K,
Avey Tare's Slasher Flicks,
Bobbi Humphrey,
Rhythm & Sound,
Niagra,
Rapeman,
Boogie Down Productions,
Drexciya,
Au Pairs,
The Doors,
Wasted Youth,
Newcleus,
Panda Bear,
Sad Lovers and Giants,
Camron Feat. Memphis Bleek And Beenie Seigel,
A Certain Ratio,
Interpol,
Kevin Saunderson,
The Gun Club,
Camberwell Now,
Boredoms,
The Slackers,
Radiopuhelimet,
Ultimate Spinach,
Vaughan Mason & Crew,
Nils Olav,
New Age Steppers,
Man Eating Sloth,
Juan Atkins,
Mo-Dettes,
Deakin, Deakin, Deakin, Deakin.
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.