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 France and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Portland and Winnipeg.
I'm losing my edge to the art-school Mexico City 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 organ 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 grime kids.
I played it at the Roxy.
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 Gerry Rafferty. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Eric B and Rakim 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Carl Craig,
Drexciya,
Larry & the Blue Notes,
Q and Not U,
cv313,
Banda Bassotti,
Moebius,
Gang of Four,
Bauhaus,
Janne Schatter,
Eddi Front,
Underground Resistance,
The Skatalites,
Radio Birdman,
Grauzone,
Mark Hollis,
Dual Sessions,
Leonard Cohen,
Deepchord,
Lakeside,
Stiv Bators,
A Certain Ratio,
Chrome,
L. Decosne,
The Gories,
Eyeless In Gaza,
Minnie Riperton,
Gil Scott-Heron and Jamie xx,
X-102,
Electric Light Orchestra,
Boogie Down Productions,
The Techniques,
Los Fastidios,
Accadde A,
X-101,
Rekid,
The Raincoats,
Vainqueur,
Scott Walker + Sunn O))),
Danielle Patucci,
China Crisis,
Throbbing Gristle,
Justin Hinds & The Dominoes,
Monolake,
The Music Machine,
The Chocolate Watch Band,
The Jesus and Mary Chain,
David Bowie,
Robert Görl,
Ultravox,
Marshall Jefferson,
Gil Scott Heron,
Cymande,
48th St. Collective,
The United States of America,
Terry Callier,
Derrick May,
Bluetip,
Gang Gang Dance,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.