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 Suriname and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Mumbai.
I'm losing my edge to the art-school Mexico City 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 David Bowie 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 Circle Jerks to the funk 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 The Birthday Party. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every The Grass Roots 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Echo & the Bunnymen,
Gregory Isaacs,
Sam Rivers,
Hardrive,
Zero Boys,
John Holt,
Stiv Bators,
A Flock of Seagulls,
Sarah Menescal,
Bizarre Inc.,
Sex Pistols,
Con Funk Shun,
Marvin Gaye,
Oneida,
Urselle,
Country Teasers,
Roger Hodgson,
The Seeds,
UT,
Robert Wyatt,
Carl Craig,
Alison Limerick,
Lungfish,
Drive Like Jehu,
Newcleus,
Make Up,
Bobbi Humphrey,
The Black Dice,
Art Ensemble Of Chicago,
China Crisis,
Dorothy Ashby,
Pharaoh Sanders and the Fire Engines,
Hashim,
Cal Tjader,
Chrome,
Joe Smooth,
The Selecter,
T. Rex,
Eric Dolphy,
Quando Quango,
the Association,
Stetsasonic,
Sixth Finger,
Thompson Twins,
The Young Rascals,
Ponytail,
Siouxsie and the Banshees,
Audionom,
Darondo,
Au Pairs,
Oppenheimer Analysis,
Bang on a Can All-Stars,
Babytalk,
Joy Division,
Kings Of Tomorrow,
The Skatalites,
Bootsy Collins,
Dr. Dre and Snoop Doggy Dog,
Idris Muhammad,
Chris & Cosey,
Neil Young & Crazy Horse,
Sister Nancy,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.