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 Jordan and from Sao Paulo.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Salvador and Philadelphia.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 The United States of America to the dance 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 Aloha Tigers. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
Sly & The Family Stone,
Frankie Knuckles,
The Toasters,
Television Personalities,
Technova,
The Music Machine,
Selector Dub Narcotic,
Sad Lovers and Giants,
Arcadia,
Soul II Soul,
Roy Ayers Ubiquity,
Au Pairs,
The Moody Blues,
The Move,
Eric Copeland,
Ornette Coleman,
Patti Smith,
James White and The Blacks,
Lightning Bolt,
Sugar Minott,
Ten City,
Loose Ends,
Alison Limerick,
Audionom,
Gang Starr,
Stetsasonic,
The American Breed,
Minutemen,
Radio Birdman,
Nick Cave & The Bad Seeds,
Skriet,
Joe Smooth,
Laurel Aitken,
David Bowie,
Fear,
Public Image Ltd.,
Hashim,
The Cure,
Wally Richardson,
Avey Tare & Kría Brekkan,
Jerry's Kids,
Sex Pistols,
Eyeless In Gaza,
UT,
Kaleidoscope,
The Happenings,
Toni Rubio,
Rod Modell,
the Normal,
EPMD,
Kool Moe Dee,
Minnie Riperton,
Leonard Cohen,
Los Fastidios,
Deakin,
Deepchord,
Thompson Twins,
Whodini,
the Association,
Pantaleimon,
Mary Jane Girls,
KRS-One, KRS-One, KRS-One, KRS-One.
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.