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 Serbia and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Tehran 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Notorious BIG live in Amsterdam to the grunge 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 Carl Craig. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Letta Mbulu 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 '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Jawbox,
Kurtis Blow,
Sonny Sharrock,
Isaac Hayes,
Ken Boothe,
Rufus Thomas,
Sällskapet,
X-101,
10cc,
Joe Finger,
Basic Channel,
Deutsch Amerikanische Freundschaft,
Visage,
Ronnie Foster,
Jacob Miller,
Johnny Clarke,
The Knickerbockers,
Darondo,
Public Enemy,
Banda Bassotti,
Bill Wells,
The Modern Lovers,
Gil Scott Heron,
The Sonics,
The Fall,
Captain Beefheart & His Magic Band,
Ultravox,
Kool Moe Dee,
Jacques Brel,
the Fania All-Stars,
Lower 48,
Hoover,
Malaria!,
Junior Murvin,
Hasil Adkins,
Aloha Tigers,
The Evens,
Drexciya,
Silicon Teens,
Amazonics,
Pantytec,
Los Fastidios,
June Days,
Supertramp,
Soft Cell,
The Residents,
Terrestrial Tones,
Saccharine Trust,
The Mummies,
Parry Music,
The Index,
kango's stein massive,
Goldenarms,
Echo & the Bunnymen,
Dual Sessions,
It's A Beautiful Day,
Gregory Isaacs,
Loose Ends,
Infiniti,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.