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 Korea North and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Milan and Seoul.
I'm losing my edge to the art-school Stockholm 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 John Holt to the rap 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 Swell Maps. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Accadde A 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
The Modern Lovers,
Davy DMX,
Blossom Toes,
Bob Dylan,
Idris Muhammad,
Wings,
AZ,
Royal Trux,
The Fire Engines,
Marc Romboy vs. Booka Shade,
Jesper Dahlback,
Skarface,
China Crisis,
Charles Mingus,
Icehouse,
In Retrospect,
Lalann,
Brass Construction,
Audionom,
Bobby Sherman,
Thee Headcoats,
Quando Quango,
John Holt,
Flash Fearless,
Bush Tetras,
Pulsallama,
Grandmaster Flash,
Eric Dolphy,
Crash Course in Science,
Kauko Röyhkä ja Narttu,
Steve Hackett,
Jerry's Kids,
Ralphi Rosario,
Mary Jane Girls,
Eyeless In Gaza,
Kool Moe Dee,
Notorious BIG live in Amsterdam,
Wasted Youth,
Jeff Mills,
Rekid,
Popol Vuh,
Black Bananas,
Visage,
John Coltrane,
Orchestral Manoeuvres in the Dark,
Supertramp,
Mission of Burma,
Reuben Wilson,
Echo & the Bunnymen,
Darondo,
New Order,
Little Man,
La Düsseldorf,
Archie Shepp,
Kenny Larkin,
Bluetip,
Negative Approach,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.