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 Cairo.
But I was there.
I was there in .
I was there at the first Suicide 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 1978.
I'm losing my edge.
To all the kids in Woodstock and Paris.
I'm losing my edge to the art-school Delhi 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 marimba 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 The Misunderstood to the funk 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 Warren Ellis. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Youth Brigade record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Girls At Our Best!,
Wasted Youth,
Grandmaster Flash and the Furious Five,
Traffic Nightmare,
L. Decosne,
Alton Ellis,
Jeru the Damaja,
Soft Machine,
Arcadia,
The Doors,
The Sisters of Mercy,
Jacques Brel,
48th St. Collective,
Isaac Hayes,
Stetsasonic,
Rod Modell,
The Barracudas,
Cecil Taylor,
Trumans Water,
Avey Tare,
Marcia Griffiths,
Spandau Ballet,
Duran Duran,
Gang Gang Dance,
Black Pus,
Scion,
Camron Feat. Memphis Bleek And Beenie Seigel,
Angels of Light & Akron/Family,
F. McDonald,
The American Breed,
The Stooges,
Bad Manners,
Ituana,
Scott Walker,
Country Teasers,
X-101,
Red Lorry Yellow Lorry,
Sun City Girls,
The Cowsills,
Frankie Knuckles,
Young Marble Giants,
Grey Daturas,
Y Pants,
Deakin,
Peter and Kerry,
Ponytail,
Nils Olav,
Eddi Front,
Fear,
Los Fastidios,
Clear Light,
Crash Course in Science,
Roy Ayers Ubiquity,
Fad Gadget,
T.S.O.L.,
The Leaves,
Popol Vuh,
Donny Hathaway,
Crime,
Arab on Radar,
Ralphi Rosario,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.