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 Dominican Republic and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Tehran.
I'm losing my edge to the art-school Bologna 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 linndrum sounds with much patience.
I was there when David Bowie 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 Lalo Schifrin to the jazz kids.
I played it at Cafe Wha.
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 Rhythm & Sound. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson 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 '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Model 500,
Severed Heads,
Fat Boys,
Quantec,
Bootsy Collins,
The Sound,
Sun Ra,
Dual Sessions,
Moebius,
Von Mondo,
Wire,
Isaac Hayes,
Gerry Rafferty,
Eli Mardock,
The Last Poets,
The Cowsills,
The J.B.'s,
Neil Young & Crazy Horse,
The Angels of Light,
Sad Lovers and Giants,
Avey Tare,
Rhythim Is Rhythim,
the Slits,
Arthur Verocai,
Aswad,
Surgeon,
Eric Dolphy,
Lou Christie,
Andrew Hill,
Negative Approach,
June Days,
Television,
John Cale,
Essential Logic,
Letta Mbulu,
Oblivians,
Boogie Down Productions,
X-Ray Spex,
Dark Day,
Brand Nubian,
OOIOO,
Heavy D & The Boyz,
Country Joe & The Fish,
Soulsonic Force,
Interpol,
Thompson Twins,
The Litter,
The Peanut Butter Conspiracy,
The Associates,
Stereo Dub,
Gichy Dan,
The Seeds,
Con Funk Shun,
Slave,
Peter Gordon & Love of Life Orchestra,
Fifty Foot Hose,
Siouxsie and the Banshees,
The Leaves,
London Community Gospel Choir,
Wolf Eyes,
Delta 5,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.