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 Canada and from Paris.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school Houston 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Gil Scott-Heron and Jamie xx to the disco kids.
I played it at the Hacienda.
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 Television Personalities. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every Deadbeat 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 '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Masters at Work,
Kevin Saunderson,
Tim Buckley,
Andrew Ashong & Theo Parrish,
Theoretical Girls,
10cc,
Magazine,
Whodini,
Grandmaster Flash and the Furious Five,
Drive Like Jehu,
The Names,
Selector Dub Narcotic,
Pere Ubu,
Kerri Chandler,
Malaria!,
Outsiders,
Bang On A Can,
Deepchord,
Eric B and Rakim,
The Five Americans,
Gary Puckett & The Union Gap,
Grey Daturas,
Royal Trux,
The Trojans,
The Fuzztones,
Swell Maps,
Minor Threat,
The Stooges,
Major Organ And The Adding Machine,
The Mighty Diamonds,
Marc Almond,
The Barracudas,
Lou Reed & John Cale,
Cecil Taylor,
Black Flag,
Camouflage,
Animal Collective,
Can,
The Detroit Cobras,
Organ,
Tears for Fears,
Interpol,
Lalann,
Gabor Szabo,
Visage,
The Pretty Things,
Rhythim Is Rhythim,
Rhythm & Sound,
Qualms,
Angry Samoans,
Underground Resistance,
Neu!,
Kayak,
Gang Starr,
Monolake,
Rakim,
Porter Ricks,
Chrome,
The Red Krayola,
The Kinks,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.