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 Palau and from Cairo.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school New York 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 La Düsseldorf to the grunge kids.
I played it at the 40 Watt.
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 Oblivians. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every The Trojans 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Surgeon,
Strawberry Alarm Clock,
Bang On A Can,
Matthew Bourne,
Faraquet,
Roger Hodgson,
London Community Gospel Choir,
The Leaves,
Charles Mingus,
Hasil Adkins,
John Holt,
John Cale,
the Soft Cell,
Jeff Lynne,
Sad Lovers and Giants,
Freddie Wadling,
Symarip,
Sam Rivers,
Lyres,
Moebius,
Spandau Ballet,
Faust,
Pagans,
Todd Terry,
Ultra Naté,
Colin Newman,
The Busters,
Orchestral Manoeuvres in the Dark,
Electric Light Orchestra,
The Zeros,
John Foxx,
Tres Demented,
Althea and Donna,
Delta 5,
Gang of Four,
The Human League,
Radiopuhelimet,
Ultimate Spinach,
Sticky Fingaz feat. Raekwon,
Lou Reed & John Cale,
Sound Behaviour,
Ten City,
The Sonics,
The Wake,
Bobby Womack,
Camberwell Now,
Gong,
Ice-T,
Crash Course in Science,
Oblivians,
Heaven 17,
Louis and Bebe Barron,
Animal Collective,
Al Stewart,
Saccharine Trust,
Gang Green,
Avey Tare's Slasher Flicks,
Infiniti,
Bluetip,
Warsaw, Warsaw, Warsaw, Warsaw.
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.