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 Cape Verde and from Mumbai.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school Winnipeg 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 güiro 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 Pylon to the rock kids.
I played it at Cafe Wha.
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 Parry Music. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Unrelated Segments,
The Cure,
Scion,
Deepchord,
Jandek,
Robert Wyatt,
Dark Day,
Jacob Miller,
The Stooges,
The Barracudas,
Scratch Acid,
Althea and Donna,
Bob Dylan,
Schoolly D,
Magazine,
Roger Hodgson,
Pole,
Magma,
Swell Maps,
Louis and Bebe Barron,
Wolf Eyes,
The Slits,
Sugar Minott,
Soulsonic Force,
Crime,
X-Ray Spex,
Warren Ellis,
Bill Wells,
Accadde A,
Chris & Cosey,
Audionom,
Fort Wilson Riot,
Hashim,
Young Marble Giants,
Main Source,
Bluetip,
Kerrie Biddell,
Eden Ahbez,
The Moleskins,
Pantaleimon,
Wasted Youth,
Lou Christie,
Mo-Dettes,
Todd Terry,
Ludus,
Brothers Johnson,
Eyeless In Gaza,
Marc Almond,
The Real Kids,
Bootsy Collins,
Amon Düül,
EPMD,
Scan 7,
Pharoah Sanders,
Sly & The Family Stone,
Blake Baxter,
Loose Ends,
The Sonics,
Röyhkä ja Rättö ja Lehtisalo,
Sex Pistols,
Curtis Mayfield,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.