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 Botswana and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1964 to 1977.
I'm losing my edge.
To all the kids in New York and Lagos.
I'm losing my edge to the art-school Portland 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Blackbyrds to the dance kids.
I played it at the Hacienda.
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 T. Rex. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Marc Almond,
Scientists,
Eden Ahbez,
Angels of Light & Akron/Family,
World's Most,
Alison Limerick,
Reuben Wilson,
Bobby Womack,
Banda Bassotti,
Icehouse,
Black Bananas,
Soft Machine,
Johnny Clarke,
Brass Construction,
Unrelated Segments,
Scion,
The Count Five,
Black Flag,
The Dead C,
Echo & the Bunnymen,
Boogie Down Productions,
Charles Mingus,
Hardrive,
Arthur Verocai,
Flipper,
The Golliwogs,
Swans,
Altered Images,
Groovy Waters,
Marine Girls,
Amon Düül II,
Junior Murvin,
Isaac Hayes,
The Victims,
Beasts of Bourbon,
Wolf Eyes,
Tim Buckley,
The Fire Engines,
Dave Gahan,
Avey Tare & Kría Brekkan,
The Tremeloes,
Barbara Tucker,
Little Man,
Strawberry Alarm Clock,
Avey Tare,
The Searchers,
X-Ray Spex,
T. Rex,
Lou Reed,
Magazine,
The Pop Group,
Stetsasonic,
David McCallum,
Anthony Braxton,
Sex Pistols,
The Moleskins,
Joe Finger,
Sly & The Family Stone,
The Smoke,
Andrew Ashong & Theo Parrish,
Khruangbin,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.