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 Gambia and from Bremen.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Spokane and Taipei.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb 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 The Shadows of Knight to the techno kids.
I played it at Trash.
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 Drive Like Jehu. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Connie Case 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 '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
This Heat,
The Flesh Eaters,
Delta 5,
Schoolly D,
Clear Light,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Raincoats,
Panda Bear,
The Fire Engines,
A Flock of Seagulls,
Heavy D & The Boyz,
Grey Daturas,
F. McDonald,
Grandmaster Flash,
Urselle,
Underground Resistance,
Lonnie Liston Smith,
FM Einheit,
Pagans,
Television,
The Men They Couldn't Hang,
Country Teasers,
Half Japanese,
Skriet,
Gichy Dan,
Sixth Finger,
Cecil Taylor,
Major Organ And The Adding Machine,
Tears for Fears,
The Moody Blues,
Lungfish,
Trumans Water,
Buzzcocks,
Television Personalities,
Circle Jerks,
Parry Music,
Agent Orange,
Gerry Rafferty,
Ultramagnetic MC's,
Moebius,
June of 44,
Nas,
Public Enemy,
Yazoo,
Hashim,
Avey Tare,
Harpers Bizarre,
James White and The Blacks,
Curtis Mayfield,
Soul II Soul,
Fort Wilson Riot,
Bush Tetras,
The Smiths,
Agitation Free,
Liliput,
These Immortal Souls,
Gil Scott Heron,
Gil Scott-Heron & Brian Jackson,
Scrapy,
Black Pus,
Radio Birdman,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.