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 Iceland and from Glasgow.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Lille and Portland.
I'm losing my edge to the art-school Tehran 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Amon Düül II to the grunge 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 Masters at Work. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every the Fania All-Stars 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator 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 theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Isaac Hayes,
Avey Tare,
Babytalk,
Urselle,
New Age Steppers,
Blancmange,
Desert Stars,
Larry & the Blue Notes,
Amon Düül,
Albert Ayler,
The Flesh Eaters,
Bluetip,
Althea and Donna,
DJ Sneak,
Ossler,
Roxy Music,
Duran Duran,
Technova,
Massinfluence,
Warsaw,
LL Cool J,
The Fortunes,
Mars,
Tres Demented,
Cluster,
London Community Gospel Choir,
Mantronix,
Youth Brigade,
Pharoah Sanders,
The West Coast Pop Art Experimental Band,
Electric Light Orchestra,
Black Moon,
Jeru the Damaja,
Sparks,
Oneida,
Manfred Mann's Earth Band,
Bootsy Collins,
Vainqueur,
Ash Ra Tempel,
The Dave Clark Five,
Frankie Knuckles,
Siouxsie and the Banshees,
Beasts of Bourbon,
Interpol,
Gil Scott Heron,
Circle Jerks,
the Soft Cell,
Donny Hathaway,
Juan Atkins,
The Moody Blues,
Anthony Braxton,
The Gladiators,
Angry Samoans,
Major Organ And The Adding Machine,
Erasure,
Lizzy Mercier Descloux,
Susan Cadogan,
Deakin,
Darondo, Darondo, Darondo, Darondo.
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.