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 El Salvador and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1978.
I'm losing my edge.
To all the kids in Delhi and Toronto.
I'm losing my edge to the art-school Manchester 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 theremin 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 Joe Smooth to the punk kids.
I played it at the Crocodile.
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 La Düsseldorf. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal jazz 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 oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Barclay James Harvest,
Bang On A Can,
Avey Tare & Kría Brekkan,
Bluetip,
Sound Behaviour,
the Association,
Bronski Beat,
Von Mondo,
Brand Nubian,
Ken Boothe,
Nico,
Fort Wilson Riot,
Heavy D & The Boyz,
Gabor Szabo,
R.M.O.,
Nils Olav,
Alton Ellis,
Gil Scott-Heron & Brian Jackson,
Loose Ends,
Kauko Röyhkä ja Narttu,
Gastr Del Sol,
Larry & the Blue Notes,
Pulsallama,
Gary Puckett & The Union Gap,
The Last Poets,
Lalann,
Dennis Brown,
the Sonics,
Max Romeo,
The Sisters of Mercy,
Sister Nancy,
Robert Görl,
Jawbox,
Jandek,
Wally Richardson,
Todd Rundgren,
H. Thieme,
The Raincoats,
Fad Gadget,
The Residents,
The Knickerbockers,
Smog,
Soulsonic Force,
A Flock of Seagulls,
Eric Dolphy,
Section 25,
Tim Buckley,
Black Moon,
The Skatalites,
Funkadelic,
Grauzone,
Rotary Connection,
The United States of America,
Inner City, Inner City, Inner City, Inner City.
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.