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 the UAE and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Cairo and Philadelphia.
I'm losing my edge to the art-school Beijing 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 synthesizer 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 Davy DMX to the techno 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 Bobbi Humphrey. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Bobbi Humphrey,
Quando Quango,
Nation of Ulysses,
Desert Stars,
Qualms,
Sticky Fingaz feat. Raekwon,
Model 500,
The Searchers,
Masters at Work,
The Last Poets,
Rod Modell,
Judy Mowatt,
Juan Atkins,
Connie Case,
Nik Kershaw,
Kool Moe Dee,
Crime,
Sight & Sound,
The American Breed,
FM Einheit,
Dead Boys,
London Community Gospel Choir,
Severed Heads,
Maleditus Sound,
The Seeds,
The Dave Clark Five,
The Slits,
The Fugs,
Liaisons Dangereuses,
Yusef Lateef,
Pole,
Althea and Donna,
Kool G Rap & DJ Polo,
Harry Pussy,
Animal Collective,
The Evens,
Lightning Bolt,
Q65,
Ossler,
The Motions,
Stockholm Monsters,
Warren Ellis,
Can,
Jesper Dahlbäck,
The Leaves,
The Buckinghams,
Unwound,
Richard Hell and the Voidoids,
Lindisfarne,
Josef K,
Roy Ayers Ubiquity,
The Star Department,
Soft Cell,
the Normal,
Eric Dolphy,
Prince Buster,
Pantytec,
Joy Division,
Angels of Light & Akron/Family,
Black Flag, Black Flag, Black Flag, Black Flag.
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.