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 Israel and from Woodstock.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Lagos 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 808 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 Sly & The Family Stone to the funk 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 Bad Manners. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
A Certain Ratio,
Erykah Badu,
Das Ding,
Bill Near,
Ultravox,
Kayak,
Outsiders,
The Cure,
Ronan,
Sällskapet,
Jawbox,
David Axelrod,
Harpers Bizarre,
Liaisons Dangereuses,
LL Cool J,
Neu!,
Arcadia,
Shoche,
The Toasters,
Maleditus Sound,
The Vogues,
The Saints,
Be Bop Deluxe,
Sister Nancy,
The Royal Family And The Poor,
Essential Logic,
Eve St. Jones,
Q and Not U,
Roxette,
Visionaries,LMNO, T- Love & Iriscience,
AZ,
UT,
Notorious Big And Bone Thugs,
Aural Exciters,
Joy Division,
Television,
X-101,
Ornette Coleman,
Quantec,
Arthur Verocai,
The Modern Lovers,
Severed Heads,
Sun City Girls,
Darondo,
Girls At Our Best!,
Roy Ayers Ubiquity,
Blake Baxter,
the Germs,
Vladislav Delay,
Gang Gang Dance,
Stiv Bators,
Kenny Larkin,
Slave,
Eric B and Rakim,
Marc Romboy vs. Booka Shade,
Idris Muhammad,
Hashim,
This Heat,
The Fugs,
Donny Hathaway,
Dr. Dre and Snoop Doggy Dog,
Symarip, Symarip, Symarip, Symarip.
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.