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 Monaco and from Lyon.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Electric Prunes to the rock kids.
I played it at the Astoria.
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 Brass Construction. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Letta Mbulu 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 '80s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
Sister Nancy,
Mars,
Minutemen,
The Shadows of Knight,
Darondo,
Archie Shepp,
Kings Of Tomorrow,
New Order,
Bootsy Collins,
The Index,
Suicide,
the Sonics,
Sad Lovers and Giants,
Gil Scott-Heron & Brian Jackson,
X-Ray Spex,
Jeff Mills,
PIL,
Henry Cow,
The Leaves,
Blake Baxter,
James Chance & The Contortions,
Orchestral Manoeuvres in the Dark,
Sight & Sound,
In Retrospect,
The Saints,
Peter & Gordon,
Jawbox,
Justin Hinds & The Dominoes,
Nik Kershaw,
Cameo,
Fluxion,
Funky Four + One,
Technova,
Pulsallama,
Youth Brigade,
Mr. Review,
Pagans,
Nirvana,
Desert Stars,
Maleditus Sound,
The Move,
Louis and Bebe Barron,
Siglo XX,
Clear Light,
Kevin Saunderson,
The Gun Club,
Stockholm Monsters,
The Standells,
The Sound,
Trumans Water,
The Electric Prunes,
Terry Callier,
Pantytec,
Fatback Band,
Pierre Henry,
Grauzone,
Frankie Knuckles,
Slave,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.