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 Nepal and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Calgary and Halifax.
I'm losing my edge to the art-school Bremen 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 1973 at the first Television practice in a loft in New York.
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 E-Dancer to the jazz kids.
I played it at CBGB's.
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 Barclay James Harvest. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every La Düsseldorf 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
The Selecter,
X-101,
Jimmy McGriff,
Peter and Kerry,
Alton Ellis,
London Community Gospel Choir,
H. Thieme,
The Invisible,
Beasts of Bourbon,
The Blues Magoos,
Hot Snakes,
Altered Images,
Joy Division,
Essential Logic,
Crime,
The Doors,
In Retrospect,
Cheater Slicks,
Ajijia Myrayebe,
Metal Thangz,
Andrew Ashong & Theo Parrish,
Curtis Mayfield,
KRS-One,
Selector Dub Narcotic,
The Techniques,
Fatback Band,
Parry Music,
Grandmaster Flash,
The Tremeloes,
Sun Ra Arkestra,
Drive Like Jehu,
The Blackbyrds,
Tom Boy,
Super Lover Cee & Casanova Rud,
Vladislav Delay,
Maleditus Sound,
The Toasters,
The Detroit Cobras,
Crooked Eye,
Popol Vuh,
Severed Heads,
Arab on Radar,
E-Dancer,
Thinking Fellers Union Local 282,
Khruangbin,
The Durutti Column,
Lebanon Hanover,
Fifty Foot Hose,
Rowland S Howard / Lydia Lunch,
Roy Ayers Ubiquity,
Todd Terry,
Groovy Waters,
Boz Scaggs,
The Remains,
Ronan,
Strawberry Alarm Clock,
Derrick May,
Erasure,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.