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 Turkmenistan and from Glasgow.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
I'm losing my edge to the art-school Edmonton 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 linndrum sounds with much patience.
I was there when Lou Reed 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 The Detroit Cobras to the funk kids.
I played it at the Roxy.
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 Eurythmics. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish 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?
DNA,
The Chocolate Watch Band,
The Vogues,
Siglo XX,
Yaz,
Ten City,
Althea and Donna,
Half Japanese,
Beasts of Bourbon,
Whodini,
Gastr Del Sol,
The Pop Group,
Guru Guru,
The Peanut Butter Conspiracy,
Arthur Verocai,
The Standells,
Donald Byrd,
Oneida,
The Victims,
The Fuzztones,
Wire,
Little Man,
The New Christs,
Roxette,
Kool Moe Dee,
The Divine Comedy,
Neil Young,
Model 500,
Slave,
Grauzone,
Dennis Brown,
Radio Birdman,
Brand Nubian,
Babytalk,
Lindisfarne,
Jerry's Kids,
New Order,
Eurythmics,
The Moody Blues,
Selector Dub Narcotic,
The Wake,
Gerry Rafferty,
One Last Wish,
Marine Girls,
Anthony Braxton,
Saccharine Trust,
Roy Ayers Ubiquity,
Eyeless In Gaza,
Bobby Womack,
Sticky Fingaz feat. Raekwon,
the Fania All-Stars,
Rekid,
Crash Course in Science,
Kool G Rap & DJ Polo,
Altered Images,
Connie Case,
Rotary Connection,
In Retrospect,
Animal Collective,
Roy Ayers,
Los Fastidios,
Porter Ricks,
Bluetip,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.