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 Austria and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Bologna and Spokane.
I'm losing my edge to the art-school Accra 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 theremin 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 Ornette Coleman to the punk kids.
I played it at the Spitz.
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 Rosa Yemen. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Thinking Fellers Union Local 282,
Television,
John Coltrane,
Theoretical Girls,
David McCallum,
Yazoo,
The Invisible,
Peter and Kerry,
The Neon Judgement,
Byron Stingily,
Masters at Work,
48th St. Collective,
Fear,
The Residents,
Nas,
The Busters,
Dennis Brown,
Rapeman,
This Heat,
Suburban Knight,
Lyres,
Sun Ra,
Stereo Dub,
Bootsy Collins,
Saccharine Trust,
Bronski Beat,
The Last Poets,
Gil Scott-Heron & Brian Jackson,
Hoover,
Harry Pussy,
Matthew Bourne,
Bobbi Humphrey,
Accadde A,
Morten Harket,
Desert Stars,
Steve Hackett,
Altered Images,
John Lydon,
X-102,
The Sisters of Mercy,
The Blues Magoos,
Pere Ubu,
Roxy Music,
Scion,
The Zeros,
Radiopuhelimet,
Blake Baxter,
The Young Rascals,
Richard Hell and the Voidoids,
Television Personalities,
Big Daddy Kane,
Toni Rubio,
Andrew Hill,
Hasil Adkins,
The Moleskins,
Junior Murvin,
Angry Samoans,
The Martian,
KRS-One,
Radiohead,
Jeru the Damaja,
Joe Finger,
Grandmaster Flash,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.