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 Germany and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school Cairo 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 rhodes 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 Gary Puckett & The Union Gap to the jazz kids.
I played it at the Troubador.
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 Gang Starr. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Byron Stingily 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 '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Sam Rivers,
Oppenheimer Analysis,
Letta Mbulu,
Pole,
Severed Heads,
Infiniti,
Arab on Radar,
Brass Construction,
Jerry's Kids,
Silicon Teens,
Todd Rundgren,
Kenny Larkin,
Larry & the Blue Notes,
Maleditus Sound,
John Holt,
The Wake,
Von Mondo,
Pierre Henry,
Pharoah Sanders,
The Skatalites,
Young Marble Giants,
T. Rex,
The Gories,
Bobby Hutcherson,
Ajijia Myrayebe,
The Divine Comedy,
The Grass Roots,
Hasil Adkins,
Ossler,
Neil Young & Crazy Horse,
The Barracudas,
Jawbox,
Junior Murvin,
Quadrant,
Yusef Lateef,
MDC,
Eurythmics,
Scott Walker,
John Foxx,
The Jesus and Mary Chain,
Los Fastidios,
Negative Approach,
Tim Buckley,
Echospace,
Marine Girls,
Gastr Del Sol,
Darondo,
The Gladiators,
Lou Reed & Metallica,
Glambeats Corp.,
Bad Manners,
June Days,
Visionaries,LMNO, T- Love & Iriscience,
A Certain Ratio,
The New Christs,
the Bar-Kays,
Kango’s Stein Massive,
Fat Boys,
Model 500,
Absolute Body Control,
Nik Kershaw,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.