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 East Timor and from Glasgow.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1966 to 1979.
I'm losing my edge.
To all the kids in Delhi and Lille.
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 güiro sounds with much patience.
I was there when David Bowie 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 Heavy D & The Boyz to the electroclash kids.
I played it at the Astoria.
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 KRS-One. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal electroclash 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 a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
A Certain Ratio,
Lakeside,
Bang On A Can,
Scrapy,
Funkadelic,
Wolf Eyes,
The Selecter,
Lucky Dragons,
The Tremeloes,
Louis and Bebe Barron,
The Searchers,
Eyeless In Gaza,
Scott Walker,
The Young Rascals,
Ken Boothe,
Delta 5,
Anthony Braxton,
Ultramagnetic MC's,
James White and The Blacks,
Section 25,
Minnie Riperton,
Barclay James Harvest,
Patti Smith,
Essential Logic,
Inner City,
Gil Scott-Heron and Jamie xx,
The Five Americans,
Von Mondo,
Echospace,
Junior Murvin,
the Bar-Kays,
CMW,
Michelle Simonal,
The Zeros,
Henry Cow,
the Human League,
The Cosmic Jokers,
The Count Five,
Justin Hinds & The Dominoes,
Jimmy McGriff,
Fear,
The Remains,
Chris & Cosey,
Monks,
Lou Reed & Metallica,
Major Organ And The Adding Machine,
the Germs,
The Cowsills,
Sparks,
Tim Buckley,
Brand Nubian,
Country Joe & The Fish,
Eddi Front,
The Sisters of Mercy,
Sight & Sound,
Ituana,
Bootsy Collins,
Harpers Bizarre,
DJ Sneak,
Ultimate Spinach,
Procol Harum,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.