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 Togo and from Madrid.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Columbus and Salvador.
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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Bobby Sherman to the jazz 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 The Velvet Underground. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Eden Ahbez 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
The Evens,
Los Fastidios,
Sugar Minott,
Freddie Wadling,
Sandy B,
Eric Copeland,
Parry Music,
Johnny Osbourne,
Arab on Radar,
Ituana,
Carl Craig,
Grey Daturas,
Rufus Thomas,
Lower 48,
Red Lorry Yellow Lorry,
Ronan,
Letta Mbulu,
Magma,
Amon Düül,
The Smoke,
Roger Hodgson,
Art Ensemble Of Chicago,
Pantaleimon,
ABBA,
Loose Ends,
Larry & the Blue Notes,
The Count Five,
The Vogues,
Marmalade,
Gerry Rafferty,
Model 500,
New Order,
Pet Shop Boys,
The Standells,
Gil Scott Heron,
Nico,
Rahsaan Roland Kirk,
Goldenarms,
Grandmaster Flash and the Furious Five,
Crispy Ambulance,
Wolf Eyes,
Orchestral Manoeuvres in the Dark,
The Fortunes,
The Doobie Brothers,
Sarah Menescal,
Stereo Dub,
Essential Logic,
The Men They Couldn't Hang,
The Last Poets,
Saccharine Trust,
Isaac Hayes,
Cameo,
Theoretical Girls,
Ohio Players,
Easy Going,
Funky Four + One,
Organ,
Throbbing Gristle,
Tubeway Army,
Nation of Ulysses,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.