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 Liberia and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Milan and Beijing.
I'm losing my edge to the art-school Accra 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 güiro sounds with much patience.
I was there when Lou Reed 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 Joyce Sims to the jazz 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 Morten Harket. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Sad Lovers and Giants,
Sunsets and Hearts,
Jawbox,
Livin' Joy,
Rufus Thomas,
Jacques Brel,
Bad Manners,
Gian Franco Pienzio,
MC5,
Bootsy's Rubber Band,
Gil Scott-Heron and Jamie xx,
Simply Red,
Ken Boothe,
The Smiths,
Procol Harum,
The Remains,
Scott Walker,
Bauhaus,
Buzzcocks,
Matthew Halsall,
Minnie Riperton,
Goldenarms,
Teenage Jesus and the Jerks,
Maurizio,
Cabaret Voltaire,
the Soft Cell,
Quando Quango,
The Names,
Section 25,
Pierre Henry,
Gong,
Siglo XX,
Amazonics,
Roy Ayers Ubiquity,
Drive Like Jehu,
Harry Pussy,
Rod Modell,
Donny Hathaway,
New Age Steppers,
Mr. Review,
Barrington Levy,
Matthew Bourne,
Radiopuhelimet,
Vainqueur,
The Real Kids,
Suburban Knight,
Echospace,
Wings,
Man Eating Sloth,
Erykah Badu,
Brothers Johnson,
In Retrospect,
Hasil Adkins,
Vaughan Mason & Crew,
Das Ding,
The Zeros,
Shuggie Otis,
The Walker Brothers,
Kas Product,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.