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 Spain and from Mexico City.
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 1978.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Seoul 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 De La Soul & Jungle Brothers to the grime 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 Theoretical Girls. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
The Remains,
Peter and Kerry,
The Names,
Skriet,
Leonard Cohen,
Dave Gahan,
Iggy Pop,
Crispy Ambulance,
Michelle Simonal,
Boz Scaggs,
Eurythmics,
Warren Ellis,
Scion,
Sight & Sound,
Pierre Henry,
Oppenheimer Analysis,
Wally Richardson,
Saccharine Trust,
Country Teasers,
Sexual Harrassment,
Outsiders,
Fat Boys,
Lonnie Liston Smith,
Bootsy's Rubber Band,
Art Ensemble Of Chicago,
EPMD,
James Chance & The Contortions,
Fear,
Gil Scott Heron,
Hardrive,
Mr. Review,
Lou Reed & Metallica,
The Durutti Column,
the Bar-Kays,
Vaughan Mason & Crew,
Sound Behaviour,
Ash Ra Tempel,
Popol Vuh,
The Invisible,
Marcia Griffiths,
The Raincoats,
Radiopuhelimet,
the Fania All-Stars,
Sonic Youth,
The Zeros,
Maurizio,
The Fortunes,
La Düsseldorf,
Arcadia,
Gastr Del Sol,
Infiniti,
Traffic Nightmare,
Monolake,
Albert Ayler,
Television,
The Motions,
Fad Gadget,
The Real Kids,
Eve St. Jones,
The Selecter, The Selecter, The Selecter, The Selecter.
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.