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 Portugal and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Portland.
I'm losing my edge to the art-school New York 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 Donald Fagen 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 Lou Christie to the grunge 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Grandmaster Flash 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
The Wake,
Pantytec,
The Skatalites,
Beasts of Bourbon,
The Monochrome Set,
Glambeats Corp.,
Tim Buckley,
Kenny Larkin,
Supertramp,
Yusef Lateef,
The Pretty Things,
Nick Fraelich,
Johnny Clarke,
the Soft Cell,
Intrusion,
June of 44,
Gary Puckett & The Union Gap,
The Sonics,
Pharoah Sanders,
The Buckinghams,
Inner City,
The Fire Engines,
Metal Thangz,
Kerri Chandler,
Deadbeat,
Rakim,
Gil Scott Heron,
Alison Limerick,
Minnie Riperton,
The Real Kids,
Gang Gang Dance,
Clear Light,
Deakin,
Robert Görl,
Judy Mowatt,
L. Decosne,
Porter Ricks,
Maurizio,
Michelle Simonal,
Parry Music,
Dark Day,
Ash Ra Tempel,
Nirvana,
Crooked Eye,
Barbara Tucker,
Lou Reed & John Cale,
Anthony Braxton,
Man Eating Sloth,
Throbbing Gristle,
Angels of Light & Akron/Family,
Country Joe & The Fish,
Audionom,
Terrestrial Tones,
Quantec,
Notorious Big And Bone Thugs,
La Düsseldorf,
JFA,
Andrew Hill,
The Gap Band,
Kevin Saunderson,
FM Einheit,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.