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 Comoros and from Milan.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Woodstock.
I'm losing my edge to the art-school Madrid 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 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 The Royal Family And The Poor to the dance kids.
I played it at CBGB's.
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 The Men They Couldn't Hang. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
The Cowsills,
Bobby Hutcherson,
Q65,
The Star Department,
Bang on a Can All-Stars,
Minor Threat,
Zapp,
Buzzcocks,
Slave,
Tropical Tobacco,
The Jesus and Mary Chain,
Crime,
Ossler,
Vainqueur,
Oblivians,
Rosa Yemen,
Kerrie Biddell,
Model 500,
Freddie Wadling,
Vaughan Mason & Crew,
The Dirtbombs,
Hoover,
Yaz,
Avey Tare's Slasher Flicks,
Smog,
Lou Reed & John Cale,
The Velvet Underground,
The West Coast Pop Art Experimental Band,
Kenny Larkin,
a-ha,
Brick,
Selector Dub Narcotic,
Von Mondo,
Stockholm Monsters,
kango's stein massive,
The Tremeloes,
Sound Behaviour,
Althea and Donna,
UT,
Wasted Youth,
Pere Ubu,
Accadde A,
MC5,
The Blues Magoos,
Tom Boy,
Kool G Rap & DJ Polo,
Radiopuhelimet,
Grauzone,
Donald Byrd,
Swans,
Mandrill,
Public Enemy,
Robert Wyatt,
Nik Kershaw,
Flipper,
Neu!,
B.T. Express,
D'Angelo,
Big Daddy Kane,
Scott Walker,
Bush Tetras,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.