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 Panama and from Taipei.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Madrid and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba 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 Graham Central Station to the rap kids.
I played it at the Astoria.
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 Jesper Dahlbäck. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Camron Feat. Jay Z And Juelz 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
World's Most,
John Holt,
Newcleus,
Aloha Tigers,
The Saints,
Ultimate Spinach,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Surgeon,
The Pretty Things,
R.M.O.,
Fatback Band,
Boredoms,
Young Marble Giants,
Pete Rock & C.L. Smooth,
Thinking Fellers Union Local 282,
Dual Sessions,
Loose Ends,
Al Stewart,
Glambeats Corp.,
The Velvet Underground,
Avey Tare & Kría Brekkan,
The Raincoats,
Visionaries,LMNO, T- Love & Iriscience,
Roy Ayers Ubiquity,
Harpers Bizarre,
Derrick Morgan,
Stiv Bators,
Marine Girls,
Bobby Hutcherson,
Electric Prunes,
Popol Vuh,
Dawn Penn,
The Slits,
Gang Starr,
Ultravox,
Ossler,
Moss Icon,
Orchestral Manoeuvres in the Dark,
Vainqueur,
The Victims,
Boogie Down Productions,
Jerry Gold Smith,
Rhythm & Sound,
The Durutti Column,
DJ Sneak,
Eden Ahbez,
Procol Harum,
Half Japanese,
Danielle Patucci,
Swans,
Television Personalities,
Warsaw,
the Fania All-Stars,
Gregory Isaacs,
Visage,
Larry & the Blue Notes,
Shoche,
the Normal,
Cheater Slicks, Cheater Slicks, Cheater Slicks, Cheater Slicks.
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.