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 United States and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1976.
I'm losing my edge.
To all the kids in New York and Stockholm.
I'm losing my edge to the art-school Stockholm 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 harpsichord 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 Smog to the dance 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 kango's stein massive. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every David McCallum record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Sister Nancy,
Crispian St. Peters,
Sun Ra,
Minor Threat,
Crash Course in Science,
Suburban Knight,
The Move,
Kaleidoscope,
Surgeon,
Tears for Fears,
Scan 7,
Thee Headcoats,
The Moody Blues,
Soft Machine,
Nation of Ulysses,
Tres Demented,
John Cale,
Animal Collective,
Unrelated Segments,
Susan Cadogan,
Kas Product,
Avey Tare & Kría Brekkan,
The Men They Couldn't Hang,
F. McDonald,
Larry & the Blue Notes,
Lungfish,
Louis and Bebe Barron,
Rekid,
The Dirtbombs,
Ornette Coleman,
Ituana,
Be Bop Deluxe,
The Sonics,
Trumans Water,
Severed Heads,
The American Breed,
Donny Hathaway,
Mad Mike,
MDC,
Darondo,
Eric Dolphy,
the Soft Cell,
Funkadelic,
The Mojo Men,
Slick Rick,
Kerri Chandler,
Marcia Griffiths,
Absolute Body Control,
Sight & Sound,
Stockholm Monsters,
Johnny Clarke,
Rufus Thomas,
Thinking Fellers Union Local 282,
Skarface,
The Walker Brothers,
Gian Franco Pienzio,
Make Up,
Lonnie Liston Smith,
Arab on Radar,
Sunsets and Hearts,
a-ha,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.