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 Jamaica and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Delhi and Accra.
I'm losing my edge to the art-school London 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 Bauhaus to the punk kids.
I played it at the Spitz.
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 Pantaleimon. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Darondo 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Gastr Del Sol,
Crash Course in Science,
Inner City,
Eddi Front,
Gian Franco Pienzio,
Brass Construction,
David Bowie,
Arab on Radar,
Electric Light Orchestra,
Scratch Acid,
Gabor Szabo,
Hasil Adkins,
Tears for Fears,
The Martian,
Cymande,
Ituana,
Mandrill,
Goldenarms,
Sonic Youth,
Notorious Big And Bone Thugs,
Echospace,
Marmalade,
The Saints,
Pylon,
Fat Boys,
Jandek,
Angry Samoans,
Model 500,
Yazoo,
Nik Kershaw,
Peter and Kerry,
John Coltrane,
Moby Grape,
Oneida,
Popol Vuh,
The Gories,
Joe Finger,
Colin Newman,
The Busters,
Radiohead,
These Immortal Souls,
Jerry's Kids,
Lou Christie,
Grandmaster Flash and the Furious Five,
Pulsallama,
Freddie Wadling,
K-Klass,
Roxette,
The Grass Roots,
Bush Tetras,
Flipper,
The Black Dice,
Rhythm & Sound,
One Last Wish,
Intrusion,
Glenn Branca,
Gichy Dan,
Funky Four + One,
Q and Not U,
Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog.
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.