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 Kyrgyzstan and from Woodstock.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
I'm losing my edge to the art-school Cairo 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Monks to the electroclash kids.
I played it at the Troubador.
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 Fort Wilson Riot. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Cecil Taylor 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Barrington Levy,
Bill Wells,
The Count Five,
John Coltrane,
Nas,
Desert Stars,
The Buckinghams,
Procol Harum,
Hashim,
Throbbing Gristle,
ABBA,
Scratch Acid,
Bobby Womack,
Peter Gordon & Love of Life Orchestra,
Johnny Clarke,
These Immortal Souls,
Eric Dolphy,
The Golliwogs,
Fugazi,
The Busters,
Thinking Fellers Union Local 282,
Intrusion,
Avey Tare's Slasher Flicks,
Funky Four + One,
The West Coast Pop Art Experimental Band,
Alphaville,
A Certain Ratio,
Boz Scaggs,
Davy DMX,
Mark Hollis,
Ponytail,
Gang Green,
The Mighty Diamonds,
Minny Pops,
Lebanon Hanover,
Crispy Ambulance,
Gang of Four,
The Doors,
Sad Lovers and Giants,
David McCallum,
Lindisfarne,
Metal Thangz,
Boredoms,
John Cale,
Khruangbin,
Janne Schatter,
Angels of Light & Akron/Family,
Rhythm & Sound,
Quantec,
Pussy Galore,
Niagra,
Zero Boys,
Curtis Mayfield,
Marcia Griffiths,
Sällskapet,
The Angels of Light,
Juan Atkins,
Rekid,
Visionaries,LMNO, T- Love & Iriscience,
Arab on Radar,
Lou Reed,
Suburban Knight,
Pere Ubu,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.