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 Comoros and from Houston.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Taipei 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 808 sounds with much patience.
I was there when David Bowie 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 Gladiators to the grime kids.
I played it at Cafe Wha.
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 Cabaret Voltaire. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Maurizio,
Hasil Adkins,
Guru Guru,
Ralphi Rosario,
UT,
Outsiders,
Unwound,
Bang on a Can All-Stars,
The Red Krayola,
Rowland S Howard / Lydia Lunch,
Moss Icon,
Mark Hollis,
Bluetip,
The Divine Comedy,
Ronan,
Warren Ellis,
Von Mondo,
Pulsallama,
Dave Gahan,
Skaos,
Dead Boys,
Delta 5,
Country Teasers,
Little Man,
Lakeside,
Quadrant,
Pere Ubu,
X-101,
The Music Machine,
Excepter,
Hardrive,
Isaac Hayes,
The West Coast Pop Art Experimental Band,
Panda Bear,
The Slackers,
The New Christs,
The Cure,
The Shadows of Knight,
JFA,
Nils Olav,
Eve St. Jones,
FM Einheit,
Funkadelic,
Inner City,
Crime,
The Beau Brummels,
The Litter,
Pussy Galore,
The Modern Lovers,
Letta Mbulu,
The Gun Club,
DNA,
Cybotron,
Intrusion,
48th St. Collective,
Tubeway Army,
Ohio Players,
Flipper,
the Soft Cell,
Jacob Miller,
The Offenders,
a-ha,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.