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 Mali and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Calgary.
I'm losing my edge to the art-school Houston 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 organ sounds with much patience.
I was there when Captain Beefheart 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 B.T. Express to the electroclash 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 The Fall. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians 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?
Piero Umiliani,
Michelle Simonal,
Whodini,
Spoonie Gee,
Alton Ellis,
Bill Near,
Kool Moe Dee,
Deadbeat,
The Gladiators,
The Trojans,
The Angels of Light,
Half Japanese,
Masters at Work,
Sonic Youth,
F. McDonald,
Kas Product,
Panda Bear,
Ohio Players,
Minutemen,
Con Funk Shun,
The Slits,
U.S. Maple,
Nirvana,
Talk Talk,
Newcleus,
The Motions,
Röyhkä ja Rättö ja Lehtisalo,
Robert Hood,
DeepChord presents Echospace,
Cybotron,
Agent Orange,
Los Fastidios,
Stockholm Monsters,
Dorothy Ashby,
Bad Manners,
Chrome,
Super Lover Cee & Casanova Rud,
Arthur Verocai,
Flipper,
Porter Ricks,
Television Personalities,
The J.B.'s,
Lonnie Liston Smith,
The Knickerbockers,
Alison Limerick,
Can,
Stetsasonic,
The Doors,
The Cramps,
Marshall Jefferson,
Nico,
Dual Sessions,
Television,
The Birthday Party,
The American Breed,
Ludus,
Red Lorry Yellow Lorry,
Lightning Bolt,
The Remains,
Shuggie Otis,
Pere Ubu,
Lungfish,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.