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 Qatar and from London.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1979.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Toronto 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 Derrick May to the crunk kids.
I played it at the Crocodile.
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 The Walker Brothers. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
The Stooges,
Deakin,
Talk Talk,
Lalo Schifrin,
Tommy Roe,
Lou Reed & John Cale,
Sound Behaviour,
Arcadia,
Lafayette Afro Rock Band,
John Holt,
Jandek,
Wings,
Joyce Sims,
Andrew Hill,
Man Eating Sloth,
Gang of Four,
Lonnie Liston Smith,
Robert Wyatt,
The American Breed,
Jeru the Damaja,
DNA,
Young Marble Giants,
Sister Nancy,
Bill Near,
Blossom Toes,
Masters at Work,
June Days,
The Beau Brummels,
Harmonia,
Arthur Verocai,
Roy Ayers Ubiquity,
Joey Negro,
Dorothy Ashby,
Al Stewart,
Neu!,
Notorious Big And Bone Thugs,
Unwound,
John Lydon,
Sonny Sharrock,
Accadde A,
Terror Squad Feat. Camron,
The Happenings,
Ultimate Spinach,
Blake Baxter,
Sandy B,
the Slits,
Thompson Twins,
Newcleus,
Davy DMX,
Pharaoh Sanders and the Fire Engines,
Make Up,
Bootsy's Rubber Band,
Amon Düül II,
Angels of Light & Akron/Family,
The Peanut Butter Conspiracy,
Stereo Dub,
Harpers Bizarre,
The Slackers,
The Monks,
Gil Scott Heron,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.