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 Gambia and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1979.
I'm losing my edge.
To all the kids in Manchester and Paris.
I'm losing my edge to the art-school Copenhagen 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Lou Christie to the punk kids.
I played it at the Troubador.
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 Sexual Harrassment. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Yaz 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
X-Ray Spex,
Subhumans,
Pylon,
In Retrospect,
Wally Richardson,
Sparks,
Qualms,
Eyeless In Gaza,
Soul Sonic Force,
Fad Gadget,
Bad Manners,
Crime,
Scan 7,
Blancmange,
Animal Collective,
The Blues Magoos,
Ten City,
The West Coast Pop Art Experimental Band,
Gerry Rafferty,
Dorothy Ashby,
Eurythmics,
Young Marble Giants,
the Normal,
One Last Wish,
The Evens,
Flash Fearless,
Howard Jones,
Nils Olav,
Neil Young & Crazy Horse,
Gang Starr,
Hoover,
Depeche Mode,
Byron Stingily,
Chris & Cosey,
the Swans,
Deakin,
Roy Ayers Ubiquity,
The Monks,
X-101,
Cluster,
the Germs,
Boredoms,
The Selecter,
Royal Trux,
8 Eyed Spy,
Art Ensemble Of Chicago,
Anakelly,
Au Pairs,
Notorious Big And Bone Thugs,
Major Organ And The Adding Machine,
Cameo,
cv313,
The American Breed,
Ken Boothe,
Drexciya,
Ajijia Myrayebe,
Scion,
Faraquet,
Marmalade,
Juan Atkins,
The Last Poets,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.