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 Chad and from Hong Kong.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Salvador and Manchester.
I'm losing my edge to the art-school Tokyo 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 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 Intrusion to the disco 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 Newcleus. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every The Blues Magoos 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Parry Music,
Electric Prunes,
Minor Threat,
Sexual Harrassment,
Minny Pops,
Kevin Saunderson,
Soft Machine,
London Community Gospel Choir,
DNA,
Wolf Eyes,
James White and The Blacks,
Rhythm & Sound,
The Cosmic Jokers,
Gang Gang Dance,
The Associates,
Black Sheep,
Jandek,
Jeru the Damaja,
DJ Style,
The Vogues,
Jacques Brel,
Andrew Hill,
The United States of America,
Cameo,
Rhythim Is Rhythim,
Joyce Sims,
Eli Mardock,
Pete Rock & C.L. Smooth,
DJ Sneak,
Organ,
The Fire Engines,
Yaz,
Country Joe & The Fish,
Basic Channel,
Albert Ayler,
The West Coast Pop Art Experimental Band,
Angry Samoans,
James Chance & The Contortions,
Kool G Rap & DJ Polo,
Whodini,
The Walker Brothers,
The Saints,
Khruangbin,
Neil Young & Crazy Horse,
Monolake,
Deepchord,
The Blackbyrds,
Oblivians,
Hoover,
Avey Tare & Kría Brekkan,
KRS-One,
Jeff Mills,
Hardrive,
The Doors,
Harpers Bizarre,
The Offenders,
The Trojans,
Metal Thangz,
Saccharine Trust,
Pylon,
Subhumans, Subhumans, Subhumans, Subhumans.
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.