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 Israel and from Shanghai.
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 1979.
I'm losing my edge.
To all the kids in Calgary and London.
I'm losing my edge to the art-school Spokane 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 Nile Rodgers 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 Isaac Hayes to the techno kids.
I played it at the 40 Watt.
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 Schoolly D. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Alison Limerick,
Newcleus,
Joe Smooth,
Hashim,
The Tremeloes,
June of 44,
The Gladiators,
Q65,
The Fuzztones,
Strawberry Alarm Clock,
Sixth Finger,
Iggy Pop,
Supertramp,
Tears for Fears,
ABBA,
Dark Day,
Piero Umiliani,
Gil Scott Heron,
The Raincoats,
Hoover,
Little Man,
David McCallum,
Royal Trux,
Massinfluence,
Pantytec,
Crash Course in Science,
Average White Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Zeros,
Nick Fraelich,
Juan Atkins,
Loose Ends,
The Pretty Things,
Depeche Mode,
The United States of America,
Peter & Gordon,
a-ha,
The Skatalites,
Arab on Radar,
Mr. Review,
Franke,
Chrome,
48th St. Collective,
L. Decosne,
The Invisible,
Yaz,
The Detroit Cobras,
Captain Beefheart & His Magic Band,
Chris & Cosey,
The Moody Blues,
MC5,
K-Klass,
Soft Machine,
Harpers Bizarre,
Colin Newman,
Negative Approach,
Procol Harum,
Magazine,
Be Bop Deluxe,
Orchestral Manoeuvres in the Dark,
The Knickerbockers,
The Standells, The Standells, The Standells, The Standells.
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.