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 Namibia and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1970.
I'm losing my edge.
To all the kids in London and Taipei.
I'm losing my edge to the art-school London 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 spring reverb 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 Monks to the rap 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 Rahsaan Roland Kirk. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Brothers Johnson 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Schoolly D,
Shuggie Otis,
Country Teasers,
Sight & Sound,
Gang Green,
Selector Dub Narcotic,
Wally Richardson,
Kerrie Biddell,
Skriet,
Swell Maps,
Reagan Youth,
Malaria!,
Q and Not U,
the Soft Cell,
Heavy D & The Boyz,
Quadrant,
Sticky Fingaz feat. Raekwon,
Lebanon Hanover,
Ten City,
Avey Tare,
Brothers Johnson,
Tropical Tobacco,
In Retrospect,
Rites of Spring,
Eurythmics,
Procol Harum,
Moss Icon,
Johnny Clarke,
The Knickerbockers,
China Crisis,
Tears for Fears,
Sonic Youth,
Maleditus Sound,
The West Coast Pop Art Experimental Band,
Khruangbin,
Pharoah Sanders,
Cymande,
Pantaleimon,
Ash Ra Tempel,
Mo-Dettes,
Prince Buster,
Fat Boys,
Scratch Acid,
Grey Daturas,
Super Lover Cee & Casanova Rud,
Agitation Free,
Davy DMX,
Juan Atkins,
Harry Pussy,
A Flock of Seagulls,
Faust,
Mission of Burma,
Nils Olav,
The Golliwogs,
Rotary Connection,
June Days,
Echospace,
Henry Cow,
Aural Exciters,
Zero Boys,
EPMD,
8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy.
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.