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 Netherlands and from Salvador.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Beijing and Bremen.
I'm losing my edge to the art-school Lille 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the 808 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 The Slits to the dance kids.
I played it at the Troubador.
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 Maurizio. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every These Immortal Souls 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
The Smiths,
D'Angelo,
Bill Wells,
Pantaleimon,
Crash Course in Science,
Byron Stingily,
The Trojans,
London Community Gospel Choir,
Altered Images,
Erykah Badu,
X-101,
Spandau Ballet,
The Doors,
The Gories,
Symarip,
Average White Band,
Derrick May,
Nils Olav,
Fear,
Roy Ayers,
Joy Division,
Michelle Simonal,
Barry Ungar,
Newcleus,
The Associates,
Oblivians,
CMW,
Ralphi Rosario,
Shoche,
Robert Görl,
Lower 48,
Manfred Mann's Earth Band,
Eric Dolphy,
Sonny Sharrock,
Kurtis Blow,
Vladislav Delay,
Junior Murvin,
Gil Scott-Heron & Brian Jackson,
Joensuu 1685,
The Martian,
Fort Wilson Riot,
Derrick Morgan,
Crime,
Donny Hathaway,
LL Cool J,
John Coltrane,
Public Image Ltd.,
Jacques Brel,
Colin Newman,
Ossler,
Blossom Toes,
Mark Hollis,
Deakin,
Idris Muhammad,
The Litter,
Letta Mbulu,
Masters at Work,
Gang Gang Dance,
Subhumans,
Selector Dub Narcotic,
Gang Green,
Yaz, Yaz, Yaz, Yaz.
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.