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 Ghana and from Stockholm.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school Delhi 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the sitar 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 The American Breed to the crunk kids.
I played it at Cafe Wha.
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 Leonard Cohen. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Sex Pistols,
The Index,
Rapeman,
Niagra,
Q and Not U,
Half Japanese,
Pierre Henry,
The Dirtbombs,
Radio Birdman,
Fugazi,
Procol Harum,
KRS-One,
John Coltrane,
Stetsasonic,
The J.B.'s,
Oppenheimer Analysis,
Gerry Rafferty,
Quando Quango,
Scientists,
The Divine Comedy,
Delon & Dalcan,
Amon Düül II,
Absolute Body Control,
David Axelrod,
New Age Steppers,
Deepchord,
the Bar-Kays,
Oneida,
Idris Muhammad,
Suburban Knight,
Minnie Riperton,
Man Parrish,
Bluetip,
Surgeon,
Essential Logic,
The Young Rascals,
Camron Feat. Memphis Bleek And Beenie Seigel,
Country Joe & The Fish,
This Heat,
Black Pus,
Motorama,
the Normal,
Crooked Eye,
The Techniques,
The Leaves,
Sunsets and Hearts,
K-Klass,
Lyres,
Peter & Gordon,
Shuggie Otis,
The Smoke,
The Modern Lovers,
The Wake,
Lindisfarne,
Thee Headcoats,
Sam Rivers,
Jawbox,
Scion,
Sugar Minott,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.