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 Montenegro and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1979.
I'm losing my edge.
To all the kids in New York and Shanghai.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 John Coltrane to the rap kids.
I played it at the Spitz.
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 This Heat. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Neu! record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Lebanon Hanover,
D'Angelo,
Bizarre Inc.,
Lafayette Afro Rock Band,
Amon Düül II,
Ultramagnetic MC's,
Popol Vuh,
John Lydon,
Cabaret Voltaire,
Sun City Girls,
Letta Mbulu,
Roxette,
Angels of Light & Akron/Family,
Pete Rock & C.L. Smooth,
Stetsasonic,
the Association,
Desert Stars,
ABBA,
The United States of America,
The Velvet Underground,
Alton Ellis,
Khruangbin,
Henry Cow,
Soft Cell,
Rod Modell,
Flipper,
One Last Wish,
Deakin,
Man Parrish,
Todd Rundgren,
The Shadows of Knight,
The Wake,
Brand Nubian,
Soul II Soul,
Josef K,
AZ,
Kas Product,
Chris & Cosey,
Television Personalities,
Warren Ellis,
Kool G Rap & DJ Polo,
Nick Cave & The Bad Seeds,
The Evens,
Kevin Saunderson,
Pantytec,
Arab on Radar,
The Alarm Clocks,
Jeff Mills,
Crash Course in Science,
The American Breed,
Scrapy,
the Slits,
Spoonie Gee,
Boogie Down Productions,
CMW,
The Sound,
Lucky Dragons,
Crooked Eye,
Groovy Waters,
Crispy Ambulance,
The Martian, The Martian, The Martian, The Martian.
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.