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 Nicaragua and from Mexico City.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Jakarta.
I'm losing my edge to the art-school New York 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 spring reverb 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 MDC to the jazz kids.
I played it at the Roxy.
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 Brick. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal rap 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 an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Deutsch Amerikanische Freundschaft,
R.M.O.,
Kango’s Stein Massive,
Simply Red,
MC5,
The Raincoats,
The American Breed,
Harry Pussy,
K-Klass,
U.S. Maple,
Eurythmics,
Japan,
Minnie Riperton,
Dead Boys,
New Order,
Vainqueur,
the Fania All-Stars,
Clear Light,
The Motions,
Cal Tjader,
Black Flag,
Gian Franco Pienzio,
Easy Going,
Donald Byrd,
JFA,
Kayak,
Kenny Larkin,
Fatback Band,
The Fire Engines,
Steve Hackett,
Unrelated Segments,
Archie Shepp,
Faust,
Pharoah Sanders,
the Association,
Public Enemy,
Orchestral Manoeuvres in the Dark,
The Misunderstood,
Ponytail,
Richard Hell and the Voidoids,
These Immortal Souls,
Ralphi Rosario,
Big Daddy Kane,
Spoonie Gee,
The Modern Lovers,
Yaz,
This Heat,
Magma,
Wolf Eyes,
Grandmaster Flash and the Furious Five,
The Skatalites,
The Barracudas,
Absolute Body Control,
Davy DMX,
PIL,
Hashim,
N.O.R.E. Featuring Pharrell,
Cluster,
Bauhaus,
Lebanon Hanover,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.