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 Spokane.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Delhi and Edmonton.
I'm losing my edge to the art-school Houston 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 linndrum 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 Radiopuhelimet to the dance kids.
I played it at the 40 Watt.
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 KRS-One. All the underground hits.
All Delta 5 tracks. I heard you have a vinyl of every Gil Scott Heron 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 a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Warsaw,
Unwound,
Marshall Jefferson,
Funkadelic,
Barclay James Harvest,
Rapeman,
Sandy B,
The Divine Comedy,
The American Breed,
Camron Feat. Memphis Bleek And Beenie Seigel,
Soft Machine,
Danielle Patucci,
The Young Rascals,
Sun City Girls,
Radiopuhelimet,
Marcia Griffiths,
Sex Pistols,
X-101,
Avey Tare's Slasher Flicks,
Man Parrish,
Minnie Riperton,
The Flesh Eaters,
The Monks,
Frankie Knuckles,
Donny Hathaway,
The Techniques,
Echospace,
Scan 7,
Nation of Ulysses,
Leonard Cohen,
Beasts of Bourbon,
Aloha Tigers,
Lightning Bolt,
Alice Coltrane,
Monks,
La Düsseldorf,
Don Cherry,
Andrew Ashong & Theo Parrish,
Camberwell Now,
Lonnie Liston Smith,
Kings Of Tomorrow,
Index,
Oblivians,
Royal Trux,
Sticky Fingaz feat. Raekwon,
Black Pus,
Amazonics,
Gil Scott-Heron and Jamie xx,
The Dave Clark Five,
Andrew Hill,
CMW,
Agent Orange,
Kauko Röyhkä ja Narttu,
Quantec,
Monolake,
A Flock of Seagulls,
Urselle,
John Foxx,
Black Flag,
Lee Hazlewood,
The Tremeloes,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.