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 Israel and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Calgary and Woodstock.
I'm losing my edge to the art-school Salvador 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Avey Tare & Kría Brekkan to the rock 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 Echo & the Bunnymen. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Camouflage,
Kas Product,
The Shadows of Knight,
Tomorrow,
Tubeway Army,
Sun City Girls,
Liaisons Dangereuses,
Beasts of Bourbon,
Jeru the Damaja,
Ronan,
U.S. Maple,
Oneida,
FM Einheit,
Joyce Sims,
Von Mondo,
London Community Gospel Choir,
One Last Wish,
Jawbox,
The Gun Club,
Pharaoh Sanders and the Fire Engines,
The Wake,
A Certain Ratio,
Masters at Work,
The Music Machine,
Gil Scott-Heron & Brian Jackson,
Ultramagnetic MC's,
Rekid,
Lebanon Hanover,
Dorothy Ashby,
The Gap Band,
D'Angelo,
The Mummies,
Andrew Ashong & Theo Parrish,
Wings,
Robert Wyatt,
The Standells,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Cramps,
De La Soul & Jungle Brothers,
Brass Construction,
Steve Hackett,
Soul II Soul,
Justin Hinds & The Dominoes,
Blake Baxter,
Arcadia,
the Fania All-Stars,
Ken Boothe,
Bobby Sherman,
Symarip,
Chris Corsano,
Iggy Pop,
Tom Boy,
New Order,
Barry Ungar,
Rod Modell,
Faust,
Swans,
Juan Atkins,
Smog,
Lalann,
Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam.
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.