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 Germany and from Mumbai.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Mexico City 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 snare sounds with much patience.
I was there when Holger Czukay 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 Sugar Minott to the rap 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 Flipper. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Intrusion record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Roxy Music,
The Shadows of Knight,
Gil Scott Heron,
Avey Tare & Kría Brekkan,
Joe Smooth,
EPMD,
Wasted Youth,
Adolescents,
Blancmange,
Tomorrow,
Supertramp,
Eric Dolphy,
Crooked Eye,
Kurtis Blow,
Harpers Bizarre,
Fort Wilson Riot,
The Move,
Oblivians,
Kerrie Biddell,
Cluster,
Black Flag,
Section 25,
Minny Pops,
The Sonics,
X-101,
Das Ding,
New Age Steppers,
Camouflage,
The Durutti Column,
The Evens,
Camberwell Now,
Sexual Harrassment,
Crispy Ambulance,
Eddi Front,
Pole,
Bronski Beat,
Mark Hollis,
Gastr Del Sol,
The Selecter,
Robert Wyatt,
Lizzy Mercier Descloux,
Talk Talk,
Arab on Radar,
Thee Headcoats,
Bizarre Inc.,
Eve St. Jones,
Jeff Mills,
Lebanon Hanover,
The Mummies,
Steve Hackett,
Sister Nancy,
Sly & The Family Stone,
Sällskapet,
Monolake,
Lee Hazlewood,
Marine Girls,
Wally Richardson,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.