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 Serbia and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1978.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
I'm losing my edge to the art-school Milan 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Ajijia Myrayebe to the grime 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 Unrelated Segments. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Joensuu 1685,
The Buckinghams,
Kenny Larkin,
Notorious Big And Bone Thugs,
The Detroit Cobras,
Davy DMX,
U.S. Maple,
Terror Squad Feat. Camron,
Yazoo,
Crime,
The New Christs,
Lizzy Mercier Descloux,
Aaron Thompson,
Electric Light Orchestra,
Hoover,
Kaleidoscope,
Nick Fraelich,
Severed Heads,
Mark Hollis,
Junior Murvin,
Minnie Riperton,
Pantytec,
Scrapy,
Tomorrow,
Frankie Knuckles,
The Motions,
the Fania All-Stars,
Rites of Spring,
the Normal,
Adolescents,
Angels of Light & Akron/Family,
Faraquet,
The Blackbyrds,
Boz Scaggs,
Bobby Womack,
The Litter,
Minny Pops,
Gil Scott-Heron and Jamie xx,
The Busters,
Art Ensemble Of Chicago,
Deadbeat,
Glambeats Corp.,
The Offenders,
Michelle Simonal,
Isaac Hayes,
A Certain Ratio,
Wasted Youth,
Iggy Pop,
Agent Orange,
E-Dancer,
Shoche,
Dark Day,
Franke,
Mission of Burma,
Jeff Mills,
Scion,
Kool G Rap & DJ Polo,
Letta Mbulu,
Funkadelic,
The Fortunes,
Howard Jones,
Average White Band, Average White Band, Average White Band, Average White Band.
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.