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 Swaziland and from Delhi.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Beijing and Delhi.
I'm losing my edge to the art-school Lagos 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 Sad Lovers and Giants 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 Ossler. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every 10cc 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
ABBA,
Rhythim Is Rhythim,
Radiopuhelimet,
The Alarm Clocks,
CMW,
Public Image Ltd.,
Panda Bear,
Deadbeat,
Marc Almond,
Magazine,
Amon Düül II,
Albert Ayler,
Slick Rick,
the Normal,
Moss Icon,
John Lydon,
Gary Puckett & The Union Gap,
David McCallum,
K-Klass,
Soulsonic Force,
Kayak,
The Human League,
Rowland S Howard / Lydia Lunch,
Aswad,
The Residents,
John Coltrane,
Adolescents,
Gastr Del Sol,
Steve Hackett,
Hot Snakes,
The Doors,
Reagan Youth,
Brothers Johnson,
Tomorrow,
Television Personalities,
Ajijia Myrayebe,
Delon & Dalcan,
Fort Wilson Riot,
The Birthday Party,
Ice-T,
Big Daddy Kane,
Ultra Naté,
Clear Light,
Black Pus,
The Slackers,
Scratch Acid,
Excepter,
Bizarre Inc.,
Man Eating Sloth,
Country Joe & The Fish,
Livin' Joy,
Skriet,
Ronnie Foster,
Soft Cell,
Sister Nancy,
Loose Ends,
James Chance & The Contortions,
Interpol,
Deutsch Amerikanische Freundschaft,
Mo-Dettes,
The Cosmic Jokers,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.