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 Swaziland and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television 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 1962 to 1977.
I'm losing my edge.
To all the kids in London and Lille.
I'm losing my edge to the art-school Tehran 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 Holger Czukay 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 Eric Dolphy to the rock kids.
I played it at CBGB's.
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 Walker Brothers. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk 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?
The Offenders,
UT,
Drive Like Jehu,
the Association,
One Last Wish,
Oblivians,
Bauhaus,
Fatback Band,
The New Christs,
Ossler,
Sixth Finger,
Terror Squad Feat. Camron,
The Last Poets,
The Fugs,
Boz Scaggs,
Traffic Nightmare,
The Fuzztones,
Y Pants,
Lou Reed & John Cale,
L. Decosne,
The Gladiators,
The Vogues,
Bluetip,
Massinfluence,
Crispian St. Peters,
The Human League,
Glenn Branca,
Deadbeat,
Avey Tare,
Jandek,
Skriet,
Rapeman,
Pantaleimon,
Essential Logic,
Robert Görl,
Ronnie Foster,
Smog,
Vaughan Mason & Crew,
The Zeros,
Jeff Mills,
Orchestral Manoeuvres in the Dark,
the Fania All-Stars,
Public Enemy,
Bobbi Humphrey,
Suburban Knight,
Pagans,
Jeru the Damaja,
Boredoms,
La Düsseldorf,
Laurel Aitken,
Bootsy Collins,
Camron Feat. Memphis Bleek And Beenie Seigel,
DJ Style,
Röyhkä ja Rättö ja Lehtisalo,
The Trojans,
Cheater Slicks,
Althea and Donna,
China Crisis,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.