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 El Salvador and from Columbus.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Columbus 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 Donald Fagen 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 Strawberry Alarm Clock to the crunk 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 Man Eating Sloth. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Cal Tjader,
Brand Nubian,
Adolescents,
Fear,
Tom Boy,
Erykah Badu,
Colin Newman,
Sparks,
Al Stewart,
Kool G Rap & DJ Polo,
kango's stein massive,
Toni Rubio,
Soft Cell,
T.S.O.L.,
Index,
Unwound,
X-101,
Lonnie Liston Smith,
Erasure,
Crash Course in Science,
H. Thieme,
Tomorrow,
Major Organ And The Adding Machine,
Public Image Ltd.,
Sun City Girls,
Bootsy's Rubber Band,
Con Funk Shun,
Skriet,
Amon Düül,
Drive Like Jehu,
Eric B and Rakim,
OOIOO,
The Busters,
Glenn Branca,
Thee Headcoats,
The Gladiators,
Deadbeat,
Roxy Music,
Nick Cave & The Bad Seeds,
Ralphi Rosario,
Peter & Gordon,
John Holt,
Nas,
Smog,
Nation of Ulysses,
Sam Rivers,
David Bowie,
Saccharine Trust,
Marshall Jefferson,
Jeff Lynne,
Accadde A,
Curtis Mayfield,
Procol Harum,
Inner City,
48th St. Collective,
Arab on Radar,
Pole,
Flash Fearless,
Vladislav Delay,
Eric Dolphy,
Excepter, Excepter, Excepter, Excepter.
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.