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 Norway and from Paris.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 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 Technova to the rock kids.
I played it at the Roxy.
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 Ajijia Myrayebe. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
The Grass Roots,
Ralphi Rosario,
The Seeds,
London Community Gospel Choir,
Ash Ra Tempel,
The West Coast Pop Art Experimental Band,
Basic Channel,
Brick,
Heavy D & The Boyz,
The Mummies,
Roy Ayers,
Harmonia,
Wolf Eyes,
Minutemen,
Kool Moe Dee,
Maurizio,
Aloha Tigers,
the Soft Cell,
Althea and Donna,
The Cosmic Jokers,
Peter and Kerry,
Fluxion,
the Swans,
Supertramp,
Mr. Review,
Rapeman,
Cymande,
Tom Boy,
Zapp,
Eric Dolphy,
Erykah Badu,
Dorothy Ashby,
Electric Prunes,
the Slits,
Tubeway Army,
Magazine,
Rotary Connection,
Kauko Röyhkä ja Narttu,
Barry Ungar,
Bill Wells,
Rod Modell,
F. McDonald,
Crispian St. Peters,
Soft Cell,
Amon Düül,
The Monochrome Set,
Johnny Osbourne,
Tropical Tobacco,
Kings Of Tomorrow,
Derrick Morgan,
The Cure,
Donald Byrd,
Pet Shop Boys,
Bobbi Humphrey,
Barclay James Harvest,
Au Pairs,
Tim Buckley,
Dawn Penn,
Agitation Free,
The Stooges,
Magma, Magma, Magma, Magma.
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.