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 Kenya and from Toronto.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Beijing 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 808 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 Gil Scott-Heron & Brian Jackson to the grunge 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 Rosa Yemen. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Derrick Morgan 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Country Joe & The Fish,
Glenn Branca,
Brass Construction,
Terry Callier,
Popol Vuh,
Outsiders,
Cymande,
Con Funk Shun,
Erasure,
Angels of Light & Akron/Family,
Newcleus,
Wolf Eyes,
Joe Smooth,
Cabaret Voltaire,
Gary Puckett & The Union Gap,
Kaleidoscope,
Marvin Gaye,
Selector Dub Narcotic,
The Stooges,
Rod Modell,
Rowland S Howard / Lydia Lunch,
Barbara Tucker,
Danielle Patucci,
The Human League,
Stockholm Monsters,
Soul II Soul,
Adolescents,
Amon Düül II,
Sam Rivers,
Bootsy Collins,
Pole,
Mars,
the Fania All-Stars,
Colin Newman,
Drive Like Jehu,
Major Organ And The Adding Machine,
Visionaries,LMNO, T- Love & Iriscience,
DNA,
Eric Copeland,
Ossler,
Amazonics,
Avey Tare & Kría Brekkan,
New Order,
Gabor Szabo,
John Holt,
The Move,
Icehouse,
Royal Trux,
Steve Hackett,
Nico,
Camberwell Now,
Minor Threat,
Gil Scott Heron,
Archie Shepp,
Lucky Dragons,
K-Klass,
The Moody Blues,
Terrestrial Tones,
Rahsaan Roland Kirk,
Marc Romboy vs. Booka Shade,
Circle Jerks,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.