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 Kuwait and from Paris.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Halifax.
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 marimba sounds with much patience.
I was there when Michael McDonald 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 Inner City to the funk kids.
I played it at the Crocodile.
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 Prince Buster. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Little Man 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jandek,
Magazine,
Yusef Lateef,
Kerri Chandler,
Lightning Bolt,
Electric Prunes,
Ajijia Myrayebe,
The Alarm Clocks,
Anthony Braxton,
Monolake,
Maleditus Sound,
The Remains,
Josef K,
Steve Hackett,
The Martian,
It's A Beautiful Day,
Visage,
The Last Poets,
Massinfluence,
The United States of America,
Sarah Menescal,
Ten City,
Barry Ungar,
The Searchers,
Nik Kershaw,
Cymande,
Derrick Morgan,
X-Ray Spex,
Rosa Yemen,
Red Lorry Yellow Lorry,
Simply Red,
Animal Collective,
The Slackers,
Little Man,
Lee Hazlewood,
48th St. Collective,
Television,
T.S.O.L.,
Hoover,
Faust,
Inner City,
Scratch Acid,
Shoche,
The Victims,
Marshall Jefferson,
John Foxx,
Ultra Naté,
Gil Scott-Heron and Jamie xx,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Smoke,
Pete Rock & C.L. Smooth,
DJ Style,
Radiohead,
Tears for Fears,
Soulsonic Force,
Joensuu 1685,
Darondo,
Organ,
Robert Wyatt,
The Knickerbockers,
The Walker Brothers,
The Dead C,
John Lydon,
Rapeman, Rapeman, Rapeman, Rapeman.
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.