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 Sri Lanka and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Accra and Toronto.
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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Echospace to the dance kids.
I played it at the Astoria.
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 D'Angelo. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Suburban Knight 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jandek,
Terrestrial Tones,
The Smoke,
cv313,
Fifty Foot Hose,
The Slackers,
The Cowsills,
The Wake,
Porter Ricks,
Sister Nancy,
The Flesh Eaters,
Rapeman,
A Certain Ratio,
One Last Wish,
Fugazi,
The Mighty Diamonds,
Pylon,
Yazoo,
Warsaw,
Delon & Dalcan,
Patti Smith,
Anthony Braxton,
Harry Pussy,
Sam Rivers,
Josef K,
ABC,
Negative Approach,
Mars,
John Cale,
Peter Gordon & Love of Life Orchestra,
Electric Prunes,
Loose Ends,
Lyres,
Eyeless In Gaza,
Danielle Patucci,
Camouflage,
Junior Murvin,
Q and Not U,
Tubeway Army,
Visage,
Popol Vuh,
Hoover,
Robert Görl,
Shoche,
The Mojo Men,
Kool G Rap & DJ Polo,
The Royal Family And The Poor,
The Misunderstood,
Crooked Eye,
Hashim,
Half Japanese,
Sad Lovers and Giants,
Dennis Brown,
Severed Heads,
Richard Hell and the Voidoids,
Piero Umiliani,
Deakin,
Sun Ra Arkestra,
The Gories,
Letta Mbulu,
Gil Scott Heron,
Niagra,
The Doobie Brothers,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.