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 Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school Sao Paulo 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Blossom Toes to the electroclash kids.
I played it at CBGB's.
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 Kaleidoscope. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Rakim 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vainqueur,
Ash Ra Tempel,
Sandy B,
The Detroit Cobras,
Porter Ricks,
Nils Olav,
The Searchers,
Yazoo,
Juan Atkins,
Fugazi,
Marcia Griffiths,
A Certain Ratio,
The Red Krayola,
Theoretical Girls,
DeepChord presents Echospace,
The Chocolate Watch Band,
Young Marble Giants,
Section 25,
A Flock of Seagulls,
Public Image Ltd.,
Alison Limerick,
Angry Samoans,
Mantronix,
Chris Corsano,
The Cramps,
Roxette,
Magazine,
the Sonics,
T. Rex,
Robert Hood,
Terrestrial Tones,
Ralphi Rosario,
The Motions,
Todd Rundgren,
Urselle,
Terry Callier,
Negative Approach,
The Flesh Eaters,
Mr. Review,
Kings Of Tomorrow,
Kool G Rap & DJ Polo,
Scrapy,
Crash Course in Science,
John Lydon,
Sly & The Family Stone,
Ajijia Myrayebe,
Gerry Rafferty,
Lou Reed & Metallica,
The Durutti Column,
Eddi Front,
Jacques Brel,
Liaisons Dangereuses,
The Toasters,
Tim Buckley,
Procol Harum,
Silicon Teens,
The Neon Judgement,
The Litter,
Gil Scott-Heron & Brian Jackson,
Slick Rick,
Eric Dolphy,
UT,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.