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 San Marino and from Portland.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Milan and Winnipeg.
I'm losing my edge to the art-school Mexico City 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 oboe 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 Jacob Miller to the electroclash 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 Bill Near. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Pierre Henry 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Jimmy McGriff,
The Dave Clark Five,
James White and The Blacks,
Sun Ra,
10cc,
London Community Gospel Choir,
Rahsaan Roland Kirk,
Bob Dylan,
Erykah Badu,
Bill Wells,
Sexual Harrassment,
Second Layer,
Model 500,
Charles Mingus,
Lalo Schifrin,
June of 44,
Matthew Halsall,
Nils Olav,
Roxette,
Skarface,
Japan,
Pet Shop Boys,
Q65,
The Associates,
Zero Boys,
The Raincoats,
Gil Scott-Heron & Brian Jackson,
Prince Buster,
Aloha Tigers,
Electric Prunes,
Liliput,
Terror Squad Feat. Camron,
Minny Pops,
Anakelly,
K-Klass,
The Vogues,
Lou Reed,
Niagra,
The Techniques,
The Searchers,
Outsiders,
Public Image Ltd.,
8 Eyed Spy,
Man Parrish,
The United States of America,
The Neon Judgement,
Sun Ra Arkestra,
The Star Department,
World's Most,
Kaleidoscope,
Brass Construction,
Peter Gordon & Love of Life Orchestra,
Arab on Radar,
Brothers Johnson,
Young Marble Giants,
Stockholm Monsters,
David McCallum,
The Black Dice,
Yusef Lateef,
The Gories,
Radiohead,
Harmonia,
Fluxion, Fluxion, Fluxion, Fluxion.
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.