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 Brunei and from Taipei.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Seoul.
I'm losing my edge to the art-school Toronto 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Joe Smooth to the electroclash kids.
I played it at the Astoria.
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 Ohio Players. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Ultra Naté,
The Music Machine,
A Certain Ratio,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jeff Lynne,
The Leaves,
Bang On A Can,
Matthew Bourne,
Curtis Mayfield,
Camberwell Now,
The Royal Family And The Poor,
Bang on a Can All-Stars,
Fugazi,
Whodini,
Avey Tare,
Alison Limerick,
Gil Scott Heron,
Parry Music,
Mo-Dettes,
Sister Nancy,
Deadbeat,
The Fuzztones,
Scan 7,
AZ,
Lyres,
Joey Negro,
Half Japanese,
Justin Hinds & The Dominoes,
Bluetip,
Ornette Coleman,
Flipper,
Lee Hazlewood,
X-102,
Strawberry Alarm Clock,
Ralphi Rosario,
Bobby Byrd,
Beasts of Bourbon,
The Residents,
Magma,
Excepter,
Leonard Cohen,
Louis and Bebe Barron,
Marine Girls,
The Buckinghams,
Notorious Big And Bone Thugs,
Robert Görl,
Bill Near,
Sad Lovers and Giants,
Brass Construction,
Surgeon,
Fluxion,
DNA,
Letta Mbulu,
Scott Walker,
Sun Ra,
Deutsch Amerikanische Freundschaft,
Desert Stars,
Liaisons Dangereuses,
Trumans Water,
Smog,
Au Pairs,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.