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 Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lille and Taipei.
I'm losing my edge to the art-school Lagos 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 Tom Verlaine 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 Al Stewart 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 Rites of Spring. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Flash Fearless 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 '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Rhythm & Sound,
Roy Ayers Ubiquity,
Lizzy Mercier Descloux,
Blake Baxter,
Dual Sessions,
The Index,
Carl Craig,
Bush Tetras,
Grauzone,
Mars,
Wally Richardson,
Gregory Isaacs,
The Doors,
In Retrospect,
Tom Boy,
Peter and Kerry,
Can,
Todd Terry,
Lungfish,
Gastr Del Sol,
Easy Going,
Bootsy Collins,
Urselle,
Louis and Bebe Barron,
Ajijia Myrayebe,
Main Source,
The Dirtbombs,
Thompson Twins,
Absolute Body Control,
Vainqueur,
The Gap Band,
Man Eating Sloth,
The Shadows of Knight,
Fugazi,
Eve St. Jones,
Basic Channel,
The Divine Comedy,
Ultravox,
Colin Newman,
Chris & Cosey,
KRS-One,
The Blackbyrds,
The Misunderstood,
Essential Logic,
Stockholm Monsters,
Brick,
Con Funk Shun,
Dark Day,
Quantec,
Pete Rock & C.L. Smooth,
Altered Images,
Gil Scott-Heron & Brian Jackson,
Blossom Toes,
The Golliwogs,
Röyhkä ja Rättö ja Lehtisalo,
Swans,
Max Romeo,
Lalann,
The Music Machine,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.