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 Honduras and from Glasgow.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 Paris and Mumbai.
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 marimba 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 The American Breed to the techno kids.
I played it at the Spitz.
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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Vainqueur record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Soft Cell,
Tomorrow,
Television,
Ten City,
Gregory Isaacs,
Sam Rivers,
Stetsasonic,
H. Thieme,
Peter Gordon & Love of Life Orchestra,
Buzzcocks,
New York Dolls,
Section 25,
Rakim,
Zapp,
Oppenheimer Analysis,
Scratch Acid,
Joyce Sims,
Mars,
Lungfish,
the Soft Cell,
David Axelrod,
the Fania All-Stars,
Pharoah Sanders,
Black Sheep,
The West Coast Pop Art Experimental Band,
Crooked Eye,
Kings Of Tomorrow,
Albert Ayler,
Silicon Teens,
Blossom Toes,
The Men They Couldn't Hang,
MDC,
Eurythmics,
Marvin Gaye,
Arthur Verocai,
Gang Gang Dance,
Nils Olav,
Swell Maps,
The Move,
Deutsch Amerikanische Freundschaft,
Marshall Jefferson,
The Gap Band,
Minny Pops,
Sunsets and Hearts,
Susan Cadogan,
Derrick Morgan,
Pet Shop Boys,
Public Enemy,
Television Personalities,
Strawberry Alarm Clock,
The Real Kids,
Franke,
Rotary Connection,
Echospace,
La Düsseldorf,
Jacob Miller,
Donny Hathaway,
Motorama,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.