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 Kuwait and from Bremen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in London and Philadelphia.
I'm losing my edge to the art-school Seoul 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Country Joe & The Fish to the techno kids.
I played it at Trash.
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 Marshall Jefferson. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every The Shadows of Knight 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
The Leaves,
Rapeman,
The Slits,
Mandrill,
The Kinks,
Dawn Penn,
Justin Hinds & The Dominoes,
Joe Finger,
kango's stein massive,
Liliput,
Neu!,
Outsiders,
Franke,
Echospace,
Matthew Halsall,
Lou Reed & John Cale,
Circle Jerks,
The Music Machine,
Bang on a Can All-Stars,
Jerry Gold Smith,
Moss Icon,
The Residents,
Echo & the Bunnymen,
Das Ding,
The Monochrome Set,
Jesper Dahlback,
Arcadia,
Minnie Riperton,
The Birthday Party,
The Tremeloes,
Blake Baxter,
Jandek,
Marc Romboy vs. Booka Shade,
The Pop Group,
Crash Course in Science,
Sexual Harrassment,
Camron Feat. Jay Z And Juelz,
Motorama,
The Martian,
Tomorrow,
Ohio Players,
Sandy B,
The Five Americans,
Grey Daturas,
the Association,
Harpers Bizarre,
Sly & The Family Stone,
The Royal Family And The Poor,
Parry Music,
The Buckinghams,
Cybotron,
Barbara Tucker,
The Electric Prunes,
Stiv Bators,
Intrusion,
Hardrive,
Qualms,
Teenage Jesus and the Jerks,
Jimmy McGriff,
Jeru the Damaja,
Bad Manners,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.