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 Serbia and from Hong Kong.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
I'm losing my edge to the art-school Paris 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 marimba 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 Byron Stingily to the funk kids.
I played it at CBGB's.
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 The Fuzztones. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Bauhaus 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
The Red Krayola,
The American Breed,
Piero Umiliani,
Crispian St. Peters,
Scan 7,
Matthew Halsall,
Minnie Riperton,
Eli Mardock,
Lalann,
Avey Tare,
Tres Demented,
Spoonie Gee,
The Misunderstood,
Joe Finger,
The Five Americans,
Deadbeat,
Heaven 17,
Ash Ra Tempel,
Ludus,
The Modern Lovers,
Bill Near,
Guru Guru,
Freddie Wadling,
Public Image Ltd.,
Zero Boys,
Saccharine Trust,
Siglo XX,
Inner City,
Dennis Brown,
Essential Logic,
Red Lorry Yellow Lorry,
Cheater Slicks,
Cal Tjader,
Bauhaus,
Godley & Creme,
Moss Icon,
Lee Hazlewood,
The Cosmic Jokers,
Kas Product,
Alton Ellis,
Q and Not U,
Japan,
Hoover,
Clear Light,
the Germs,
Strawberry Alarm Clock,
London Community Gospel Choir,
Cameo,
Black Sheep,
Danielle Patucci,
Boogie Down Productions,
Oneida,
Traffic Nightmare,
Lightning Bolt,
Kango’s Stein Massive,
Basic Channel,
Pete Rock & C.L. Smooth,
Amon Düül II,
Roy Ayers Ubiquity,
Gang Green,
The Durutti Column,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.