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 Trinidad & Tobago and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Houston.
I'm losing my edge to the art-school Hong Kong 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Letta Mbulu 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 Rosa Yemen. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gichy Dan record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Animal Collective,
Popol Vuh,
The Divine Comedy,
Intrusion,
Moss Icon,
Reuben Wilson,
The Tremeloes,
Kurtis Blow,
Scott Walker,
Rowland S Howard / Lydia Lunch,
8 Eyed Spy,
KRS-One,
Scrapy,
Amazonics,
The Names,
The Durutti Column,
Gian Franco Pienzio,
Larry & the Blue Notes,
The Human League,
Television,
the Germs,
Alphaville,
Ajijia Myrayebe,
June Days,
Faraquet,
Ponytail,
Gang Gang Dance,
Joey Negro,
Thompson Twins,
The Trojans,
Con Funk Shun,
Marc Romboy vs. Booka Shade,
The Toasters,
Inner City,
John Cale,
Severed Heads,
The Count Five,
Radio Birdman,
PIL,
Thinking Fellers Union Local 282,
Idris Muhammad,
Clear Light,
Rotary Connection,
Crispy Ambulance,
Prince Buster,
Vainqueur,
Surgeon,
Negative Approach,
Shuggie Otis,
The Men They Couldn't Hang,
Ituana,
The Music Machine,
The Detroit Cobras,
The Young Rascals,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gong,
The Skatalites,
A Flock of Seagulls,
Pussy Galore,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.