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 Cyprus and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Accra and Toronto.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 Oneida to the electroclash kids.
I played it at Cafe Wha.
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 Strawberry Alarm Clock. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
10cc,
Lyres,
Clear Light,
Tubeway Army,
Motorama,
U.S. Maple,
The Flesh Eaters,
Barclay James Harvest,
The Star Department,
The Neon Judgement,
Intrusion,
Model 500,
Susan Cadogan,
Cluster,
Crash Course in Science,
Ajijia Myrayebe,
Kerrie Biddell,
Skaos,
Main Source,
Schoolly D,
Stiv Bators,
Kerri Chandler,
Sam Rivers,
Reuben Wilson,
The Fugs,
Hardrive,
Cybotron,
Donald Byrd,
Rakim,
Todd Terry,
Anakelly,
The Doors,
The Velvet Underground,
X-Ray Spex,
Sällskapet,
Quantec,
Minnie Riperton,
Trumans Water,
Talk Talk,
Sad Lovers and Giants,
Royal Trux,
Joey Negro,
Boogie Down Productions,
Delon & Dalcan,
Todd Rundgren,
The Modern Lovers,
Deutsch Amerikanische Freundschaft,
The Moody Blues,
Agitation Free,
Stereo Dub,
Jeru the Damaja,
Beasts of Bourbon,
Nick Fraelich,
The Gories,
Sunsets and Hearts,
Hoover,
Minutemen,
Ultra Naté,
Toni Rubio,
Kas Product,
Depeche Mode,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.