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 Copenhagen.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Milan 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Alton Ellis to the funk kids.
I played it at the Spitz.
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 Dead C. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators 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?
Desert Stars,
Parry Music,
Grandmaster Flash,
The Fuzztones,
Whodini,
Nas,
L. Decosne,
The Chocolate Watch Band,
Visionaries,LMNO, T- Love & Iriscience,
Eurythmics,
Cabaret Voltaire,
Little Man,
Brass Construction,
Pharoah Sanders,
DJ Style,
Derrick May,
The Smoke,
Fluxion,
The Misunderstood,
John Holt,
Lower 48,
Grey Daturas,
Scrapy,
Moby Grape,
Motorama,
Electric Prunes,
Zero Boys,
Hot Snakes,
Louis and Bebe Barron,
Trumans Water,
Porter Ricks,
Yellowson,
Young Marble Giants,
Al Stewart,
The Beau Brummels,
Buzzcocks,
DNA,
Erasure,
Art Ensemble Of Chicago,
Technova,
Public Image Ltd.,
Faust,
Rekid,
Spoonie Gee,
Lee Hazlewood,
Sun Ra,
Harmonia,
Fat Boys,
Notorious Big And Bone Thugs,
Notorious BIG live in Amsterdam,
Brick,
The Kinks,
Gang Starr,
Jandek,
Fela Kuti,
Circle Jerks,
Tom Boy,
The Sound,
La Düsseldorf,
a-ha,
Nation of Ulysses,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.