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 Malawi and from London.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Houston.
I'm losing my edge to the art-school Johannesburg 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 Michael McDonald 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 Pere Ubu to the funk 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 Swell Maps. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Soulsonic Force 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Joensuu 1685,
Rosa Yemen,
Basic Channel,
Janne Schatter,
Little Man,
Rod Modell,
Avey Tare & Kría Brekkan,
Youth Brigade,
Trumans Water,
Pantaleimon,
Grandmaster Flash,
Hasil Adkins,
New Order,
The Black Dice,
Kool G Rap & DJ Polo,
Jimmy McGriff,
Neil Young,
Scrapy,
Beasts of Bourbon,
Anthony Braxton,
Faraquet,
Niagra,
The Mojo Men,
Joe Finger,
Howard Jones,
Kurtis Blow,
Terrestrial Tones,
Adolescents,
Quantec,
Matthew Halsall,
The West Coast Pop Art Experimental Band,
Jacques Brel,
Notorious BIG live in Amsterdam,
Kauko Röyhkä ja Narttu,
Fear,
Lou Reed & John Cale,
T.S.O.L.,
Moby Grape,
Skriet,
Pole,
The Monks,
Siglo XX,
Franke,
Crime,
Pantytec,
The Remains,
Gregory Isaacs,
Dorothy Ashby,
Ponytail,
Sound Behaviour,
Donald Byrd,
The Last Poets,
PIL,
Country Joe & The Fish,
Country Teasers,
Flipper,
Tim Buckley,
T. Rex,
Eden Ahbez,
John Holt,
Ohio Players,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.