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 Cuba and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Lagos and Delhi.
I'm losing my edge to the art-school Shanghai 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 spring reverb 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 X-102 to the disco kids.
I played it at the Troubador.
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 Albert Ayler. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every New Order record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Gil Scott-Heron & Brian Jackson,
The Dead C,
Blancmange,
John Lydon,
Echo & the Bunnymen,
Idris Muhammad,
The Raincoats,
Subhumans,
Boogie Down Productions,
ABBA,
Sexual Harrassment,
The Doors,
Man Parrish,
Stockholm Monsters,
New Order,
Niagra,
Surgeon,
The Sisters of Mercy,
Minny Pops,
Bobby Byrd,
Eric Copeland,
The Tremeloes,
Toni Rubio,
Girls At Our Best!,
The Leaves,
Lonnie Liston Smith,
The Fortunes,
Freddie Wadling,
Agitation Free,
The Sonics,
Bootsy Collins,
Ajijia Myrayebe,
The Searchers,
Swans,
The Blues Magoos,
Malaria!,
Jesper Dahlback,
Ten City,
The Residents,
Matthew Halsall,
Fugazi,
Mark Hollis,
Kurtis Blow,
Black Sheep,
Fat Boys,
Arthur Verocai,
Accadde A,
Delon & Dalcan,
Yusef Lateef,
Suicide,
Eddi Front,
Echospace,
Little Man,
Buzzcocks,
Siglo XX,
Goldenarms,
Charles Mingus,
New Age Steppers,
Jerry's Kids,
Al Stewart,
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.