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 Panama and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Madrid.
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 marimba 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 Barracudas to the techno kids.
I played it at the Crocodile.
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 Zapp. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
The Peanut Butter Conspiracy,
Cabaret Voltaire,
Man Eating Sloth,
Warren Ellis,
Lou Christie,
Faraquet,
Avey Tare,
Donny Hathaway,
Ken Boothe,
Spandau Ballet,
Rosa Yemen,
Alice Coltrane,
The Wake,
Howard Jones,
Pussy Galore,
Junior Murvin,
The Buckinghams,
Donald Byrd,
Porter Ricks,
Magma,
The Angels of Light,
Manfred Mann's Earth Band,
The Index,
Justin Hinds & The Dominoes,
Public Enemy,
Lizzy Mercier Descloux,
The Searchers,
The Doors,
Harpers Bizarre,
Franke,
Circle Jerks,
Kevin Saunderson,
Ornette Coleman,
The Happenings,
The Blackbyrds,
New Age Steppers,
The Count Five,
Sex Pistols,
Joe Smooth,
DJ Style,
David Axelrod,
Althea and Donna,
Nation of Ulysses,
The Music Machine,
Byron Stingily,
Major Organ And The Adding Machine,
Technova,
Scientists,
It's A Beautiful Day,
Cymande,
ABC,
Yusef Lateef,
Fugazi,
The Last Poets,
Bang On A Can,
Sly & The Family Stone,
The Cosmic Jokers,
Dennis Brown,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.