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 Maldives and from Accra.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1973.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Madrid 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Nas to the crunk 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 Clear Light. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Kerrie Biddell 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Dr. Dre and Snoop Doggy Dog,
Idris Muhammad,
Gian Franco Pienzio,
Hasil Adkins,
Sight & Sound,
Junior Murvin,
The Monochrome Set,
Bootsy's Rubber Band,
Cal Tjader,
The Invisible,
Minny Pops,
Marine Girls,
Roy Ayers,
Neil Young & Crazy Horse,
Blancmange,
The Fire Engines,
The Star Department,
Camron Feat. Memphis Bleek And Beenie Seigel,
Magma,
Bizarre Inc.,
The Five Americans,
Patti Smith,
Be Bop Deluxe,
The Victims,
48th St. Collective,
the Association,
The Associates,
Eyeless In Gaza,
Boz Scaggs,
John Cale,
Warsaw,
Sugar Minott,
The Dirtbombs,
Roy Ayers Ubiquity,
Roxette,
The Cramps,
DeepChord presents Echospace,
Man Parrish,
Joe Smooth,
Hoover,
Ice-T,
The Durutti Column,
Fifty Foot Hose,
The Gories,
Agent Orange,
Parry Music,
Joensuu 1685,
Ludus,
E-Dancer,
Sixth Finger,
Swans,
Kurtis Blow,
Joy Division,
The Gladiators,
Nico,
Jesper Dahlback,
Faraquet,
Visage,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.