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 Rwanda and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school New York 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Wire to the dance 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 David McCallum. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Loose Ends 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Pharaoh Sanders and the Fire Engines,
Idris Muhammad,
Yusef Lateef,
Pantaleimon,
The Royal Family And The Poor,
Terry Callier,
Lucky Dragons,
Interpol,
Gian Franco Pienzio,
Marcia Griffiths,
H. Thieme,
The Residents,
Gary Puckett & The Union Gap,
Joyce Sims,
The Electric Prunes,
Gil Scott Heron,
Selector Dub Narcotic,
Derrick Morgan,
In Retrospect,
James White and The Blacks,
The Blackbyrds,
Barry Ungar,
A Flock of Seagulls,
Hasil Adkins,
Swans,
June of 44,
Mars,
Con Funk Shun,
The Mighty Diamonds,
Animal Collective,
Essential Logic,
Shuggie Otis,
Cameo,
Lou Reed,
The Shadows of Knight,
Black Flag,
Infiniti,
Kool Moe Dee,
Grandmaster Flash and the Furious Five,
Spoonie Gee,
Mantronix,
Kurtis Blow,
Skriet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Main Source,
Babytalk,
Prince Buster,
Sparks,
The Barracudas,
MC5,
Scion,
Skaos,
a-ha,
The New Christs,
Tears for Fears,
The Associates,
Harpers Bizarre,
Guru Guru,
One Last Wish,
DNA,
Suicide,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.