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 St Lucia and from Philadelphia.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Lyon and Calgary.
I'm losing my edge to the art-school Toronto 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 organ sounds with much patience.
I was there when Holger Czukay 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 Motions to the electroclash kids.
I played it at the Hacienda.
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 Sound Behaviour. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal grime 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 a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
X-101,
Easy Going,
Connie Case,
The Young Rascals,
Warren Ellis,
Louis and Bebe Barron,
Mark Hollis,
Lou Christie,
Thee Headcoats,
Liliput,
Section 25,
Sällskapet,
James Chance & The Contortions,
Sister Nancy,
Erykah Badu,
L. Decosne,
OOIOO,
X-Ray Spex,
Roxette,
Youth Brigade,
Pulsallama,
Scott Walker,
Michelle Simonal,
Kauko Röyhkä ja Narttu,
Art Ensemble Of Chicago,
Absolute Body Control,
Roxy Music,
Fat Boys,
Rapeman,
Arthur Verocai,
The Sonics,
Oblivians,
Nation of Ulysses,
Tommy Roe,
Gregory Isaacs,
Surgeon,
Funkadelic,
Los Fastidios,
The Saints,
Yaz,
the Sonics,
John Lydon,
Orchestral Manoeuvres in the Dark,
Maurizio,
Delon & Dalcan,
Vladislav Delay,
a-ha,
Porter Ricks,
Peter & Gordon,
Urselle,
Byron Stingily,
June Days,
Scan 7,
A Certain Ratio,
Faust,
Ossler,
A Flock of Seagulls,
Trumans Water,
Donny Hathaway,
Aswad, Aswad, Aswad, Aswad.
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.