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 Mongolia and from Madrid.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1967 to 1978.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Lyon 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 clarinet 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 John Lydon to the techno 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 Eric Copeland. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every The Cosmic Jokers record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Black Bananas,
Harmonia,
Althea and Donna,
Gian Franco Pienzio,
Kango’s Stein Massive,
Radio Birdman,
Harry Pussy,
Babytalk,
Cabaret Voltaire,
The Saints,
Porter Ricks,
Icehouse,
The Flesh Eaters,
Yusef Lateef,
Neu!,
Average White Band,
Aswad,
The Fuzztones,
Slave,
Nico,
Prince Buster,
Television,
Kerrie Biddell,
Crispian St. Peters,
Bad Manners,
MDC,
Art Ensemble Of Chicago,
Ronnie Foster,
Rakim,
Lucky Dragons,
The Standells,
Bill Wells,
Todd Rundgren,
Gong,
Monks,
Bluetip,
Drexciya,
Bauhaus,
The Grass Roots,
Nils Olav,
Siglo XX,
Pierre Henry,
Sparks,
Sam Rivers,
Wally Richardson,
Essential Logic,
Danielle Patucci,
Sexual Harrassment,
Grauzone,
The Birthday Party,
Quando Quango,
Big Daddy Kane,
Cluster,
The Velvet Underground,
Beasts of Bourbon,
Ultravox,
Shuggie Otis,
Rahsaan Roland Kirk,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.