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 Kazakhstan and from Manchester.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
I'm losing my edge to the art-school Mexico City 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 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 Selector Dub Narcotic to the grime 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 Scratch Acid. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Niagra record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Mo-Dettes,
Vladislav Delay,
Kevin Saunderson,
New Age Steppers,
8 Eyed Spy,
Gong,
Visage,
Cecil Taylor,
Jesper Dahlback,
La Düsseldorf,
Pussy Galore,
June Days,
Gregory Isaacs,
The Red Krayola,
Gary Puckett & The Union Gap,
The Index,
Alice Coltrane,
Talk Talk,
Eddi Front,
Unrelated Segments,
Ornette Coleman,
Kayak,
Brass Construction,
Dark Day,
Lightning Bolt,
Theoretical Girls,
Procol Harum,
Letta Mbulu,
Carl Craig,
Lou Christie,
Andrew Hill,
Smog,
Pantaleimon,
Supertramp,
Flipper,
MDC,
Thee Headcoats,
The Names,
Surgeon,
Girls At Our Best!,
Cal Tjader,
Steve Hackett,
Aaron Thompson,
The Velvet Underground,
In Retrospect,
Hardrive,
Nick Fraelich,
Organ,
Sarah Menescal,
Funkadelic,
Lower 48,
the Sonics,
Eurythmics,
Con Funk Shun,
Subhumans,
Siglo XX,
Half Japanese,
Todd Terry,
John Lydon,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.