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 Denmark and from Bremen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1976.
I'm losing my edge.
To all the kids in Mumbai and Spokane.
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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Gap Band to the dance kids.
I played it at the Crocodile.
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 Dawn Penn. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Marmalade 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Alison Limerick,
10cc,
Monolake,
Gabor Szabo,
Absolute Body Control,
Jesper Dahlbäck,
Amazonics,
Ultravox,
The Offenders,
Deutsch Amerikanische Freundschaft,
Cabaret Voltaire,
Ultra Naté,
The Gories,
Magma,
Major Organ And The Adding Machine,
Roxy Music,
Cluster,
Shuggie Otis,
Faust,
Lower 48,
Cecil Taylor,
Mo-Dettes,
These Immortal Souls,
Dark Day,
Motorama,
Gang Starr,
Popol Vuh,
The Birthday Party,
Eric Copeland,
The Zeros,
The United States of America,
Rapeman,
Funkadelic,
Idris Muhammad,
June Days,
The Cosmic Jokers,
E-Dancer,
Kenny Larkin,
Throbbing Gristle,
Ken Boothe,
Agitation Free,
Kas Product,
Marmalade,
Heaven 17,
The Angels of Light,
Donald Byrd,
Livin' Joy,
The Remains,
The Associates,
Ornette Coleman,
DNA,
Camberwell Now,
Lafayette Afro Rock Band,
Black Bananas,
Masters at Work,
Lightning Bolt,
Super Lover Cee & Casanova Rud,
Robert Görl,
Jandek, Jandek, Jandek, Jandek.
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.