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 Costa Rica and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
I'm losing my edge to the art-school Milan 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 The Victims to the techno kids.
I played it at the 40 Watt.
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 Ultra Naté. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Soft Machine 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
L. Decosne,
Talk Talk,
Desert Stars,
Half Japanese,
Peter and Kerry,
Bobby Sherman,
Eric Copeland,
Warsaw,
Ohio Players,
The Associates,
Gabor Szabo,
The Fortunes,
Scott Walker + Sunn O))),
Tommy Roe,
Juan Atkins,
Ponytail,
Oppenheimer Analysis,
Kings Of Tomorrow,
Althea and Donna,
Pantaleimon,
Funkadelic,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Cluster,
Ultramagnetic MC's,
Kango’s Stein Massive,
Quando Quango,
The Red Krayola,
Bob Dylan,
Jesper Dahlback,
The Birthday Party,
Delon & Dalcan,
Urselle,
Rakim,
The Leaves,
Lakeside,
Sunsets and Hearts,
Sun Ra,
Todd Terry,
Judy Mowatt,
Simply Red,
Ronan,
Lou Christie,
Jesper Dahlbäck,
Siouxsie and the Banshees,
The Seeds,
The Remains,
Thinking Fellers Union Local 282,
Roger Hodgson,
The Martian,
Au Pairs,
Sixth Finger,
Pete Rock & C.L. Smooth,
Art Ensemble Of Chicago,
Vladislav Delay,
Roy Ayers,
Zero Boys,
Man Eating Sloth,
Deadbeat,
Funky Four + One,
The Golliwogs,
Sonic Youth,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.