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 Hungary and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1976.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school Bologna 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Saccharine Trust to the jazz kids.
I played it at Trash.
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 Dorothy Ashby. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gary Puckett & The Union Gap,
Eyeless In Gaza,
Eric B and Rakim,
John Coltrane,
Bizarre Inc.,
Bill Near,
Vainqueur,
Matthew Halsall,
Notorious Big And Bone Thugs,
The Divine Comedy,
The Doobie Brothers,
Drexciya,
The Golliwogs,
Tropical Tobacco,
Barry Ungar,
The Offenders,
Roy Ayers Ubiquity,
Ultramagnetic MC's,
Camouflage,
Kauko Röyhkä ja Narttu,
The Mighty Diamonds,
Sällskapet,
The Slackers,
In Retrospect,
Ajijia Myrayebe,
Jeru the Damaja,
Lizzy Mercier Descloux,
A Flock of Seagulls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
James Chance & The Contortions,
Television Personalities,
Peter and Kerry,
Harpers Bizarre,
The Angels of Light,
The Fortunes,
Infiniti,
Liliput,
Major Organ And The Adding Machine,
Circle Jerks,
Eurythmics,
Arcadia,
Eddi Front,
48th St. Collective,
Bluetip,
The Knickerbockers,
Unwound,
Royal Trux,
The Vogues,
Panda Bear,
Skarface,
K-Klass,
Sun City Girls,
Terrestrial Tones,
Justin Hinds & The Dominoes,
Wighnomy Brothers & Robag Wruhme,
Crash Course in Science,
Stetsasonic,
Bang On A Can,
Ohio Players,
This Heat,
Gerry Rafferty,
Model 500, Model 500, Model 500, Model 500.
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.