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 Cameroon and from Delhi.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Seoul and Winnipeg.
I'm losing my edge to the art-school Jakarta 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 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 Banda Bassotti to the punk 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 Livin' Joy. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Gil Scott Heron 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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?
Bootsy's Rubber Band,
Pagans,
Jawbox,
Radio Birdman,
Stockholm Monsters,
Newcleus,
Selector Dub Narcotic,
Ronan,
The Wake,
John Holt,
Charles Mingus,
The Modern Lovers,
Aaron Thompson,
Rhythm & Sound,
Iggy Pop,
Public Enemy,
Deepchord,
Panda Bear,
Niagra,
Todd Terry,
The Monks,
Kurtis Blow,
Arcadia,
Stereo Dub,
Oneida,
Delta 5,
Peter Gordon & Love of Life Orchestra,
Brick,
Ralphi Rosario,
Pharaoh Sanders and the Fire Engines,
Terry Callier,
Tears for Fears,
Agent Orange,
The Techniques,
Darondo,
Avey Tare,
Wally Richardson,
Barclay James Harvest,
The Residents,
Davy DMX,
Joey Negro,
Ohio Players,
Glenn Branca,
The Knickerbockers,
The Doors,
John Coltrane,
The Neon Judgement,
Country Teasers,
Stetsasonic,
Scrapy,
Little Man,
Marshall Jefferson,
Al Stewart,
Sun Ra,
Magazine,
The Music Machine,
kango's stein massive,
The Last Poets,
Max Romeo,
Theoretical Girls,
Rod Modell,
Cecil Taylor,
Index, Index, Index, Index.
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.