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 United States and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Lille 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 Holger Czukay 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 United States of America to the rap kids.
I played it at Trash.
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 Electric Light Orchestra. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes 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?
Deakin,
Andrew Hill,
The Electric Prunes,
Tommy Roe,
The Fortunes,
Gichy Dan,
Lebanon Hanover,
Alice Coltrane,
Ponytail,
Robert Görl,
Boogie Down Productions,
Louis and Bebe Barron,
Yaz,
Eric Copeland,
Faraquet,
the Bar-Kays,
The Zeros,
The Invisible,
Ultramagnetic MC's,
LL Cool J,
Sight & Sound,
The Mojo Men,
Bobby Hutcherson,
Wire,
Juan Atkins,
Gang Gang Dance,
Underground Resistance,
Slave,
Richard Hell and the Voidoids,
H. Thieme,
Mr. Review,
The Smiths,
Lalann,
Terry Callier,
New Order,
Black Bananas,
Ten City,
The Beau Brummels,
Bootsy Collins,
Avey Tare's Slasher Flicks,
Terrestrial Tones,
Bang on a Can All-Stars,
The Selecter,
Ralphi Rosario,
B.T. Express,
Sly & The Family Stone,
Quantec,
Bad Manners,
The American Breed,
Sun Ra Arkestra,
Kango’s Stein Massive,
Ituana,
Metal Thangz,
Fugazi,
The Misunderstood,
Joe Smooth,
Japan,
The Pop Group,
Parry Music,
The Pretty Things,
Minutemen,
Marmalade,
U.S. Maple,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.