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 Monaco and from Winnipeg.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Bremen and Spokane.
I'm losing my edge to the art-school Philadelphia 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 Guru Guru to the rap kids.
I played it at the 40 Watt.
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 World's Most. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Public Enemy 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Invisible,
Liliput,
Nils Olav,
Louis and Bebe Barron,
Mission of Burma,
Hashim,
Aaron Thompson,
Ossler,
Kevin Saunderson,
Sex Pistols,
Erykah Badu,
Joe Smooth,
T. Rex,
Glenn Branca,
Yazoo,
Easy Going,
the Sonics,
Robert Görl,
Brass Construction,
Public Enemy,
Radiopuhelimet,
Jacob Miller,
Ultimate Spinach,
The Golliwogs,
Röyhkä ja Rättö ja Lehtisalo,
Gregory Isaacs,
Danielle Patucci,
The Slits,
Dennis Brown,
Ultravox,
OOIOO,
Maleditus Sound,
Kerri Chandler,
Richard Hell and the Voidoids,
The Remains,
The Royal Family And The Poor,
Blancmange,
Gabor Szabo,
Country Teasers,
Moebius,
The New Christs,
Jandek,
DJ Sneak,
Moby Grape,
Dual Sessions,
Fort Wilson Riot,
The Fortunes,
Sister Nancy,
Cymande,
Suicide,
Rhythm & Sound,
Bang on a Can All-Stars,
E-Dancer,
Metal Thangz,
Tommy Roe,
Donald Byrd,
Al Stewart,
Lonnie Liston Smith,
Faust,
Nico,
The Sound,
Guru Guru,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.