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 Mozambique and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 New York and Salvador.
I'm losing my edge to the art-school Houston 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 marimba 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 Graham Central Station to the crunk kids.
I played it at the Spitz.
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 Yellowson. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Mr. Review,
Lalann,
A Flock of Seagulls,
Boredoms,
Andrew Hill,
The Move,
Black Bananas,
Brass Construction,
Liaisons Dangereuses,
The J.B.'s,
The Moleskins,
Eric B and Rakim,
Mandrill,
Khruangbin,
The Doors,
Spandau Ballet,
Blancmange,
Public Image Ltd.,
The Last Poets,
Sun Ra,
Vladislav Delay,
Mary Jane Girls,
Donald Byrd,
Rod Modell,
Duran Duran,
Piero Umiliani,
Shuggie Otis,
Yaz,
Graham Central Station,
Tears for Fears,
Roxy Music,
The Blues Magoos,
Nas,
Skriet,
Ken Boothe,
Smog,
Bush Tetras,
The Flesh Eaters,
Scion,
This Heat,
The Standells,
Moby Grape,
Minnie Riperton,
LL Cool J,
Moss Icon,
Underground Resistance,
Rhythm & Sound,
the Fania All-Stars,
Charles Mingus,
Skaos,
Nils Olav,
Rekid,
Metal Thangz,
Tim Buckley,
Oblivians,
Country Joe & The Fish,
Unrelated Segments,
Todd Terry,
Maleditus Sound,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.