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 Burkina and from Madrid.
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 1970.
I'm losing my edge.
To all the kids in Houston and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 CMW to the jazz 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 The Victims. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mission of Burma,
The Fugs,
Silicon Teens,
Rakim,
Khruangbin,
T. Rex,
Von Mondo,
Magazine,
Harmonia,
Ohio Players,
Heavy D & The Boyz,
Model 500,
Main Source,
DJ Style,
Oppenheimer Analysis,
Donny Hathaway,
Mo-Dettes,
Gil Scott-Heron & Brian Jackson,
Gabor Szabo,
Neu!,
Desert Stars,
Yaz,
Bauhaus,
Cybotron,
Janne Schatter,
John Foxx,
48th St. Collective,
Bizarre Inc.,
Lindisfarne,
MDC,
The Litter,
Leonard Cohen,
The Associates,
Urselle,
The Pretty Things,
ABBA,
Half Japanese,
Minny Pops,
Mr. Review,
The New Christs,
Kas Product,
Simply Red,
Sunsets and Hearts,
The American Breed,
The Fuzztones,
The Velvet Underground,
Rhythim Is Rhythim,
Guru Guru,
Cheater Slicks,
Nils Olav,
Danielle Patucci,
The Electric Prunes,
Dawn Penn,
The Blues Magoos,
Tres Demented,
The Buckinghams,
Rotary Connection,
Judy Mowatt,
Jerry Gold Smith,
Todd Rundgren,
Michelle Simonal,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.