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 Australia and from Accra.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Glasgow and Columbus.
I'm losing my edge to the art-school Winnipeg 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 theremin 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 Roy Ayers to the funk kids.
I played it at the Crocodile.
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 Duran Duran. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Tropical Tobacco,
Teenage Jesus and the Jerks,
Rahsaan Roland Kirk,
Kurtis Blow,
Stockholm Monsters,
Infiniti,
Dave Gahan,
Iggy Pop,
Lakeside,
Nick Cave & The Bad Seeds,
Cabaret Voltaire,
The Grass Roots,
Index,
Bronski Beat,
Max Romeo,
Zapp,
Gregory Isaacs,
Isaac Hayes,
Crime,
Electric Prunes,
The Victims,
Yusef Lateef,
Amon Düül II,
Harry Pussy,
Oblivians,
Electric Light Orchestra,
Sparks,
Pussy Galore,
Warren Ellis,
U.S. Maple,
Talk Talk,
Blancmange,
Sight & Sound,
The Dave Clark Five,
Liaisons Dangereuses,
Arthur Verocai,
Bootsy Collins,
Moebius,
Deepchord,
Stiv Bators,
Sad Lovers and Giants,
Con Funk Shun,
It's A Beautiful Day,
Lucky Dragons,
Intrusion,
The West Coast Pop Art Experimental Band,
The Velvet Underground,
Lee Hazlewood,
Stetsasonic,
Deadbeat,
Pylon,
Skriet,
The Cramps,
Sun Ra Arkestra,
Motorama,
Japan,
Warsaw,
Monolake,
Jeff Lynne,
Harmonia, Harmonia, Harmonia, Harmonia.
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.