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 Mali and from Portland.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Beijing and Lille.
I'm losing my edge to the art-school Mumbai 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 organ 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 Letta Mbulu to the dance 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 Mad Mike. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal rap 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 a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Derrick May,
Spandau Ballet,
T. Rex,
the Sonics,
Eden Ahbez,
Andrew Hill,
Kaleidoscope,
Stiv Bators,
Moebius,
Kas Product,
Michelle Simonal,
Brass Construction,
Camron Feat. Memphis Bleek And Beenie Seigel,
Delta 5,
Chrome,
Yellowson,
Godley & Creme,
Howard Jones,
Big Daddy Kane,
Rapeman,
Lalann,
Maleditus Sound,
T.S.O.L.,
Siglo XX,
Robert Wyatt,
Procol Harum,
Deadbeat,
Gil Scott-Heron and Jamie xx,
The Doors,
Tom Boy,
Lonnie Liston Smith,
Bobby Sherman,
Harry Pussy,
Suburban Knight,
John Holt,
Rotary Connection,
Carl Craig,
Rosa Yemen,
Erasure,
Skarface,
Terror Squad Feat. Camron,
Matthew Halsall,
Albert Ayler,
The Human League,
Joensuu 1685,
Lee Hazlewood,
Roy Ayers Ubiquity,
A Certain Ratio,
Connie Case,
The Dirtbombs,
It's A Beautiful Day,
The Chocolate Watch Band,
Scrapy,
Iggy Pop,
Amon Düül,
Lebanon Hanover,
Basic Channel,
The Searchers,
Oppenheimer Analysis,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.