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 Luxembourg and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Portland.
I'm losing my edge to the art-school Toronto 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Masters at Work to the dance 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 Joyce Sims. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Boz Scaggs,
L. Decosne,
Reuben Wilson,
Faust,
Dennis Brown,
John Cale,
Scrapy,
Ajijia Myrayebe,
Andrew Ashong & Theo Parrish,
Prince Buster,
June Days,
Mary Jane Girls,
Blancmange,
Barclay James Harvest,
Sarah Menescal,
The Detroit Cobras,
Dual Sessions,
The Associates,
Magazine,
Andrew Hill,
Peter & Gordon,
DNA,
Los Fastidios,
Deutsch Amerikanische Freundschaft,
Ultimate Spinach,
Skriet,
Livin' Joy,
Sound Behaviour,
The Monochrome Set,
DJ Sneak,
Albert Ayler,
Dorothy Ashby,
Suburban Knight,
Gastr Del Sol,
Lucky Dragons,
The Blues Magoos,
Chrome,
Roxy Music,
Wighnomy Brothers & Robag Wruhme,
Clear Light,
Sun Ra,
8 Eyed Spy,
Roy Ayers,
The Zeros,
Alton Ellis,
Spandau Ballet,
Qualms,
Robert Görl,
Pagans,
Jesper Dahlbäck,
John Holt,
Panda Bear,
B.T. Express,
Moebius,
Sparks,
The Trojans,
K-Klass,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
R.M.O.,
Toni Rubio,
Graham Central Station,
UT,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.