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 Kyrgyzstan and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Houston.
I'm losing my edge to the art-school Mumbai 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 Faraquet to the disco kids.
I played it at Cafe Wha.
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 Hashim. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Bang On A Can 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 '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Associates 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?
Barbara Tucker,
The United States of America,
Alice Coltrane,
Roy Ayers,
Don Cherry,
Thompson Twins,
Fat Boys,
Depeche Mode,
Morten Harket,
Sun Ra,
The Trojans,
Gichy Dan,
Eyeless In Gaza,
Magazine,
Surgeon,
Lower 48,
the Germs,
The Moleskins,
The Searchers,
Average White Band,
Alphaville,
T. Rex,
Funky Four + One,
Oppenheimer Analysis,
Lonnie Liston Smith,
Teenage Jesus and the Jerks,
Colin Newman,
Dark Day,
Avey Tare's Slasher Flicks,
This Heat,
Derrick May,
The J.B.'s,
Ultimate Spinach,
Pussy Galore,
Sex Pistols,
Sexual Harrassment,
Rhythm & Sound,
Half Japanese,
Kayak,
Rites of Spring,
The Skatalites,
Gil Scott-Heron & Brian Jackson,
The Kinks,
Minny Pops,
Louis and Bebe Barron,
Icehouse,
Radio Birdman,
Monolake,
The Walker Brothers,
The Residents,
The Men They Couldn't Hang,
Outsiders,
Eurythmics,
Hasil Adkins,
Jacques Brel,
Barrington Levy,
New York Dolls,
La Düsseldorf,
Can,
Kas Product,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.