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 Singapore and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Winnipeg.
I'm losing my edge to the art-school Accra 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 güiro sounds with much patience.
I was there when David Bowie 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 Wake to the rap 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 cv313. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Alton Ellis 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thinking Fellers Union Local 282,
Mark Hollis,
Pole,
Qualms,
Ronan,
The Alarm Clocks,
Cymande,
Half Japanese,
The Sound,
Amon Düül II,
The Moleskins,
Kenny Larkin,
Ituana,
Dark Day,
The Saints,
Bobby Byrd,
Stockholm Monsters,
Todd Rundgren,
Country Teasers,
8 Eyed Spy,
Bauhaus,
Roxette,
The Wake,
Jerry's Kids,
Johnny Osbourne,
Glambeats Corp.,
Fifty Foot Hose,
Liliput,
Khruangbin,
Eyeless In Gaza,
The Standells,
Easy Going,
Be Bop Deluxe,
Brand Nubian,
Avey Tare & Kría Brekkan,
Harpers Bizarre,
The Mojo Men,
Radiopuhelimet,
Oblivians,
Sam Rivers,
Idris Muhammad,
Monolake,
Parry Music,
the Fania All-Stars,
Grey Daturas,
Barbara Tucker,
Deepchord,
Howard Jones,
The Monochrome Set,
The Dirtbombs,
the Germs,
Scott Walker + Sunn O))),
Cecil Taylor,
DJ Style,
Heaven 17,
Godley & Creme,
The Toasters,
Franke,
Notorious Big And Bone Thugs,
the Bar-Kays,
The Stooges,
Connie Case,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.