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 Moldova and from Delhi.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Beijing and Woodstock.
I'm losing my edge to the art-school Salvador 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 organ 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 Guru Guru to the dance kids.
I played it at the Spitz.
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 Loose Ends. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal disco 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 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Gang of Four,
Bluetip,
Alice Coltrane,
Mars,
The Seeds,
Lightning Bolt,
Jesper Dahlbäck,
Dead Boys,
Charles Mingus,
Ronan,
Mr. Review,
Anakelly,
Eric Copeland,
The Sisters of Mercy,
Roxy Music,
Blake Baxter,
The Gap Band,
Electric Prunes,
the Bar-Kays,
The Mummies,
Bizarre Inc.,
Popol Vuh,
Eyeless In Gaza,
The Buckinghams,
Essential Logic,
Nation of Ulysses,
Con Funk Shun,
China Crisis,
Grandmaster Flash and the Furious Five,
Sexual Harrassment,
Magma,
Reagan Youth,
Fugazi,
Unrelated Segments,
Gary Puckett & The Union Gap,
Lalann,
Joey Negro,
Jimmy McGriff,
Rotary Connection,
The Vogues,
Delta 5,
Avey Tare's Slasher Flicks,
Soft Machine,
Anthony Braxton,
Bobbi Humphrey,
Matthew Halsall,
Art Ensemble Of Chicago,
the Fania All-Stars,
Arab on Radar,
The Selecter,
Liliput,
Bill Wells,
Sun Ra,
Radio Birdman,
Mo-Dettes,
Grandmaster Flash,
Lucky Dragons,
Alton Ellis,
Circle Jerks,
Leonard Cohen,
Negative Approach,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.