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 Uruguay and from London.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
I'm losing my edge to the art-school Calgary 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Freddie Wadling to the rap kids.
I played it at the Hacienda.
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 The Velvet Underground. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Danielle Patucci,
Glambeats Corp.,
Jeru the Damaja,
Fluxion,
The Names,
Pylon,
Max Romeo,
Alison Limerick,
Scratch Acid,
Traffic Nightmare,
Excepter,
Captain Beefheart & His Magic Band,
Mars,
Technova,
Richard Hell and the Voidoids,
Joey Negro,
Art Ensemble Of Chicago,
The Selecter,
The Smiths,
Infiniti,
Black Pus,
Lizzy Mercier Descloux,
Chris & Cosey,
Yusef Lateef,
Kool G Rap & DJ Polo,
Fear,
Heaven 17,
Michelle Simonal,
Tomorrow,
Funkadelic,
Severed Heads,
E-Dancer,
Oneida,
the Bar-Kays,
Boogie Down Productions,
T.S.O.L.,
Manfred Mann's Earth Band,
Ken Boothe,
Crispy Ambulance,
Ultimate Spinach,
Red Lorry Yellow Lorry,
Magazine,
The Pop Group,
Drexciya,
Scientists,
Quantec,
Howard Jones,
Theoretical Girls,
The Searchers,
The Dead C,
DeepChord presents Echospace,
The Pretty Things,
H. Thieme,
Soul II Soul,
June Days,
Mary Jane Girls,
The Dave Clark Five,
Depeche Mode,
Stiv Bators,
ABBA,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.