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 Bhutan and from Houston.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school Johannesburg 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 The Barracudas to the grime 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 K-Klass. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Deepchord 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 '90s.
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 A Flock of Seagulls record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Severed Heads,
Yusef Lateef,
One Last Wish,
Lower 48,
Panda Bear,
Camouflage,
Archie Shepp,
Royal Trux,
Monolake,
Desert Stars,
Easy Going,
The Dead C,
Kerrie Biddell,
Boogie Down Productions,
Public Image Ltd.,
T.S.O.L.,
Ice-T,
The Detroit Cobras,
Von Mondo,
L. Decosne,
Delon & Dalcan,
Jesper Dahlbäck,
Ash Ra Tempel,
Underground Resistance,
Cameo,
Amon Düül,
The Pretty Things,
The Tremeloes,
Marshall Jefferson,
New Age Steppers,
Idris Muhammad,
Barry Ungar,
The Gladiators,
Eric Copeland,
The Misunderstood,
Aaron Thompson,
Traffic Nightmare,
Urselle,
Rhythm & Sound,
Rufus Thomas,
Curtis Mayfield,
Vainqueur,
Cal Tjader,
Scion,
Bob Dylan,
Man Eating Sloth,
World's Most,
Wighnomy Brothers & Robag Wruhme,
Ultimate Spinach,
Siouxsie and the Banshees,
Kauko Röyhkä ja Narttu,
Roxy Music,
Adolescents,
Heavy D & The Boyz,
Ultravox,
Anakelly,
Louis and Bebe Barron,
Echospace,
48th St. Collective,
Technova,
Lou Christie,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.