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 Argentina and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Houston 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 harpsichord 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 Detroit Cobras to the rap kids.
I played it at the Astoria.
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 Royal Trux. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Neon Judgement record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Yellowson,
Nation of Ulysses,
Ken Boothe,
James Chance & The Contortions,
The Durutti Column,
Jeff Mills,
Lou Reed,
Ultravox,
Grandmaster Flash,
Marshall Jefferson,
Gian Franco Pienzio,
Neu!,
The Busters,
Kevin Saunderson,
Fifty Foot Hose,
Darondo,
Glambeats Corp.,
Susan Cadogan,
The Velvet Underground,
Harpers Bizarre,
Crispian St. Peters,
Kas Product,
Hashim,
the Normal,
Wire,
Rufus Thomas,
Sound Behaviour,
Mad Mike,
Lindisfarne,
Mantronix,
Michelle Simonal,
The Names,
Accadde A,
the Human League,
Television Personalities,
Fluxion,
Al Stewart,
The Dirtbombs,
the Soft Cell,
Basic Channel,
The Doobie Brothers,
Kango’s Stein Massive,
Kaleidoscope,
Public Image Ltd.,
Lalo Schifrin,
Althea and Donna,
Bobby Hutcherson,
Grey Daturas,
Marvin Gaye,
Rowland S Howard / Lydia Lunch,
Kayak,
Janne Schatter,
John Lydon,
Danielle Patucci,
The Shadows of Knight,
De La Soul & Jungle Brothers,
Mandrill,
The Happenings,
Röyhkä ja Rättö ja Lehtisalo,
Desert Stars,
CMW,
The Standells, The Standells, The Standells, The Standells.
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.