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 Kiribati and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Accra.
I'm losing my edge to the art-school Seoul 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 theremin 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 Clear Light to the rock 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 The Victims. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Jeru the Damaja,
The Electric Prunes,
Talk Talk,
Louis and Bebe Barron,
The Fuzztones,
Brand Nubian,
Model 500,
Lightning Bolt,
The Tremeloes,
Ultramagnetic MC's,
Byron Stingily,
The Moleskins,
The Flesh Eaters,
Gregory Isaacs,
The Busters,
Royal Trux,
June of 44,
Strawberry Alarm Clock,
Eyeless In Gaza,
Davy DMX,
Oppenheimer Analysis,
Suburban Knight,
Gerry Rafferty,
Franke,
Nik Kershaw,
K-Klass,
Lee Hazlewood,
New York Dolls,
The Shadows of Knight,
The Dirtbombs,
The Cosmic Jokers,
Rowland S Howard / Lydia Lunch,
David McCallum,
Spoonie Gee,
Yusef Lateef,
Visage,
Mandrill,
The Victims,
8 Eyed Spy,
London Community Gospel Choir,
Kas Product,
Sister Nancy,
The Offenders,
The Invisible,
Livin' Joy,
Isaac Hayes,
Röyhkä ja Rättö ja Lehtisalo,
Godley & Creme,
Eddi Front,
Lyres,
Moby Grape,
The Gap Band,
the Soft Cell,
Joe Smooth,
Lonnie Liston Smith,
Qualms,
Nation of Ulysses,
Echo & the Bunnymen,
Max Romeo,
Hardrive, Hardrive, Hardrive, Hardrive.
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.