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 Dominican Republic and from Accra.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Beijing 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 Scratch Acid to the punk 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 Ituana. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your organ and bought an oboe.
I hear that you and your band have sold your oboe and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Ajijia Myrayebe,
Radiopuhelimet,
Brothers Johnson,
Sly & The Family Stone,
Soul II Soul,
Deadbeat,
Saccharine Trust,
Alice Coltrane,
Porter Ricks,
The American Breed,
Anakelly,
Albert Ayler,
The Moleskins,
MC5,
Radiohead,
Scrapy,
Barclay James Harvest,
X-101,
The Gladiators,
Moby Grape,
The Knickerbockers,
Brass Construction,
Con Funk Shun,
Khruangbin,
DJ Sneak,
Pulsallama,
Sexual Harrassment,
Guru Guru,
Hasil Adkins,
Brand Nubian,
James Chance & The Contortions,
Pylon,
Lindisfarne,
Yusef Lateef,
Mary Jane Girls,
Louis and Bebe Barron,
Lou Reed & John Cale,
The Associates,
The West Coast Pop Art Experimental Band,
Cecil Taylor,
Bobby Sherman,
Wire,
The Royal Family And The Poor,
Shoche,
Gil Scott-Heron and Jamie xx,
Infiniti,
Andrew Hill,
Gong,
The Gun Club,
The Fugs,
Letta Mbulu,
Art Ensemble Of Chicago,
Archie Shepp,
Don Cherry,
Laurel Aitken,
MDC,
Radio Birdman,
Chrome,
Marcia Griffiths,
Oppenheimer Analysis,
Bootsy Collins,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.