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 Uzbekistan and from Madrid.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Calgary.
I'm losing my edge to the art-school Houston 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 Boogie Down Productions to the crunk kids.
I played it at Trash.
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 Talk Talk. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Cecil Taylor 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Don Cherry,
New Order,
Joey Negro,
Roy Ayers,
Rekid,
Deakin,
Althea and Donna,
Flash Fearless,
Boogie Down Productions,
Clear Light,
Howard Jones,
Fort Wilson Riot,
Cecil Taylor,
Glambeats Corp.,
Visage,
The Sound,
Grandmaster Flash,
Gil Scott-Heron & Brian Jackson,
Sex Pistols,
Bobby Sherman,
Eyeless In Gaza,
The Leaves,
Kayak,
Roy Ayers Ubiquity,
The Associates,
The Slackers,
Grey Daturas,
Moebius,
Hot Snakes,
Sun Ra,
Hardrive,
Gang Starr,
Pierre Henry,
Supertramp,
Khruangbin,
Das Ding,
The Moody Blues,
Crime,
cv313,
Symarip,
Cal Tjader,
Judy Mowatt,
Brick,
Major Organ And The Adding Machine,
Anthony Braxton,
The Motions,
Cheater Slicks,
Japan,
The Fire Engines,
Ultra Naté,
Jeff Lynne,
Bill Near,
Godley & Creme,
MC5,
Aaron Thompson,
Todd Rundgren,
Main Source,
Super Lover Cee & Casanova Rud,
Sly & The Family Stone,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.