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 Tonga and from Mexico City.
But I was there.
I was there in .
I was there at the first Suicide 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 1960 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Edmonton 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 organ 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 Popol Vuh to the jazz 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 Vladislav Delay. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Arab on Radar,
CMW,
Young Marble Giants,
Terry Callier,
Charles Mingus,
The Zeros,
Bush Tetras,
Simply Red,
Yusef Lateef,
June Days,
Patti Smith,
Mr. Review,
Tubeway Army,
The Detroit Cobras,
Pantaleimon,
Soft Machine,
Ultramagnetic MC's,
The Alarm Clocks,
The Index,
Echo & the Bunnymen,
Jimmy McGriff,
Lungfish,
Gang Gang Dance,
Yaz,
Brick,
Drexciya,
The Modern Lovers,
Livin' Joy,
Thompson Twins,
Jandek,
Marc Romboy vs. Booka Shade,
Joey Negro,
In Retrospect,
JFA,
DeepChord presents Echospace,
Rekid,
Skaos,
Kool G Rap & DJ Polo,
Strawberry Alarm Clock,
Country Joe & The Fish,
Ronnie Foster,
Avey Tare's Slasher Flicks,
Amon Düül,
Henry Cow,
Thee Headcoats,
Smog,
Sällskapet,
Soft Cell,
The Dave Clark Five,
Zero Boys,
a-ha,
Alice Coltrane,
Harpers Bizarre,
Stereo Dub,
Brothers Johnson,
The Music Machine,
U.S. Maple,
The Young Rascals,
Crime,
Max Romeo,
The Fire Engines,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.