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 Vietnam and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school Winnipeg 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 Rahsaan Roland Kirk to the rock kids.
I played it at Cafe Wha.
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 Harpers Bizarre. All the underground hits.
All Brick tracks. I heard you have a vinyl of every The Cosmic Jokers record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a DeepChord presents Echospace record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
The Doors,
The Electric Prunes,
Hardrive,
Brand Nubian,
Cal Tjader,
Althea and Donna,
Alton Ellis,
Lucky Dragons,
China Crisis,
Lower 48,
JFA,
Bush Tetras,
Archie Shepp,
Marc Romboy vs. Booka Shade,
Suburban Knight,
Mandrill,
Pagans,
Silicon Teens,
Siglo XX,
Scratch Acid,
Bill Wells,
Country Joe & The Fish,
Jawbox,
John Foxx,
The Skatalites,
Alice Coltrane,
Wasted Youth,
Heavy D & The Boyz,
Boredoms,
Eden Ahbez,
Half Japanese,
Black Bananas,
Dave Gahan,
Inner City,
Radio Birdman,
Sad Lovers and Giants,
Minutemen,
Lightning Bolt,
Andrew Hill,
Bluetip,
Fatback Band,
Thompson Twins,
Rotary Connection,
Ronnie Foster,
Avey Tare's Slasher Flicks,
James White and The Blacks,
Dorothy Ashby,
The West Coast Pop Art Experimental Band,
Pole,
F. McDonald,
The Remains,
L. Decosne,
Carl Craig,
The Fortunes,
the Swans,
Stockholm Monsters,
Sun City Girls,
Mission of Burma,
Livin' Joy,
Eric Dolphy,
Skriet, Skriet, Skriet, Skriet.
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.