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 Portugal and from Jakarta.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Milan and Mumbai.
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 rhodes 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 Marvin Gaye to the electroclash 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 Skriet. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Minny Pops 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Whodini record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
R.M.O.,
Spandau Ballet,
Infiniti,
Bill Wells,
Gang Green,
Scratch Acid,
Qualms,
Lyres,
Procol Harum,
A Flock of Seagulls,
Model 500,
Aloha Tigers,
Banda Bassotti,
Sugar Minott,
Sixth Finger,
Ituana,
June Days,
The American Breed,
F. McDonald,
Lou Reed,
China Crisis,
Todd Rundgren,
Richard Hell and the Voidoids,
The Doobie Brothers,
The Monks,
Kerrie Biddell,
The Electric Prunes,
Lou Christie,
Hasil Adkins,
The Jesus and Mary Chain,
The Mummies,
Maurizio,
Morten Harket,
Pagans,
Mark Hollis,
Laurel Aitken,
Röyhkä ja Rättö ja Lehtisalo,
The Cramps,
Royal Trux,
The Kinks,
Bluetip,
Max Romeo,
Gang Starr,
Todd Terry,
PIL,
The Associates,
Suburban Knight,
Jesper Dahlbäck,
Depeche Mode,
Scott Walker + Sunn O))),
Cabaret Voltaire,
Eric B and Rakim,
The Remains,
Black Bananas,
Ronnie Foster,
The Count Five,
Donny Hathaway,
The Walker Brothers,
Piero Umiliani,
Flipper,
Kerri Chandler,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.