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 Afghanistan and from Portland.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1966 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Erykah Badu to the techno kids.
I played it at the Troubador.
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 Doors. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Ossler 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
The Grass Roots,
The Pop Group,
Teenage Jesus and the Jerks,
The Fugs,
The Shadows of Knight,
Monolake,
Soulsonic Force,
Maleditus Sound,
E-Dancer,
Joyce Sims,
Scratch Acid,
Freddie Wadling,
Khruangbin,
Radiohead,
Niagra,
Skriet,
D'Angelo,
Con Funk Shun,
Yazoo,
Jesper Dahlback,
Harpers Bizarre,
The Monochrome Set,
June of 44,
James Chance & The Contortions,
Black Pus,
Alphaville,
Avey Tare,
Susan Cadogan,
Cybotron,
Q65,
The United States of America,
Terry Callier,
Section 25,
8 Eyed Spy,
Deadbeat,
Zapp,
The Red Krayola,
Kerri Chandler,
LL Cool J,
Loose Ends,
Neu!,
Average White Band,
Strawberry Alarm Clock,
the Fania All-Stars,
Reagan Youth,
The Dave Clark Five,
Robert Wyatt,
Q and Not U,
Art Ensemble Of Chicago,
Vladislav Delay,
Quando Quango,
Audionom,
The Gun Club,
Carl Craig,
Sun Ra,
Delta 5,
Cheater Slicks,
Black Flag,
The Residents,
Darondo,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.