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 Romania and from Lille.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Mumbai 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Deepchord 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 Sly & The Family Stone. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Major Organ And The Adding Machine record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wings,
Hot Snakes,
The Cure,
Kaleidoscope,
Pierre Henry,
Joe Finger,
Prince Buster,
Susan Cadogan,
Parry Music,
Main Source,
Electric Prunes,
Symarip,
A Certain Ratio,
Barry Ungar,
Con Funk Shun,
Scan 7,
A Flock of Seagulls,
Wally Richardson,
Public Image Ltd.,
Skaos,
PIL,
Sam Rivers,
Talk Talk,
The Index,
The Offenders,
Todd Rundgren,
La Düsseldorf,
Gil Scott-Heron and Jamie xx,
8 Eyed Spy,
Public Enemy,
Soft Machine,
Young Marble Giants,
Dual Sessions,
Nas,
Ken Boothe,
Pylon,
Japan,
Basic Channel,
Qualms,
Tomorrow,
Ronnie Foster,
Colin Newman,
Johnny Clarke,
Charles Mingus,
John Foxx,
Derrick Morgan,
Underground Resistance,
Shuggie Otis,
Jawbox,
Mad Mike,
Archie Shepp,
Steve Hackett,
Stiv Bators,
The Saints,
Piero Umiliani,
Ultra Naté,
Joyce Sims,
Crooked Eye,
Mandrill,
Brass Construction,
Stereo Dub,
Deepchord,
Josef K, Josef K, Josef K, Josef K.
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.