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 Burundi and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Beijing and Spokane.
I'm losing my edge to the art-school Philadelphia 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 harpsichord 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 Easy Going to the punk kids.
I played it at the Roxy.
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 Camberwell Now. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Bobby Womack record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Clear Light,
Inner City,
In Retrospect,
Ralphi Rosario,
Dual Sessions,
Brass Construction,
The Knickerbockers,
Crispy Ambulance,
Swell Maps,
MC5,
Richard Hell and the Voidoids,
Minor Threat,
Massinfluence,
Sonic Youth,
Barry Ungar,
Thompson Twins,
Sandy B,
Banda Bassotti,
Index,
Bobby Sherman,
Gregory Isaacs,
Robert Görl,
Eric Copeland,
The Electric Prunes,
Pylon,
Pole,
Orchestral Manoeuvres in the Dark,
Vladislav Delay,
Hashim,
Mark Hollis,
E-Dancer,
Icehouse,
Pulsallama,
Half Japanese,
Donald Byrd,
Peter & Gordon,
The Leaves,
Andrew Ashong & Theo Parrish,
Rhythm & Sound,
Manfred Mann's Earth Band,
Scientists,
Scratch Acid,
FM Einheit,
DeepChord presents Echospace,
London Community Gospel Choir,
Spoonie Gee,
Leonard Cohen,
Max Romeo,
Saccharine Trust,
The Evens,
Jandek,
Lonnie Liston Smith,
Notorious Big And Bone Thugs,
Marc Romboy vs. Booka Shade,
Alice Coltrane,
Kayak,
Super Lover Cee & Casanova Rud,
Babytalk,
Agent Orange,
Robert Wyatt,
Camberwell Now,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.