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 Croatia and from Bologna.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Toronto and Paris.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the theremin 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 Al Stewart to the grunge kids.
I played it at the 40 Watt.
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 The Human League. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Kerri Chandler 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Sexual Harrassment,
Mantronix,
Pharaoh Sanders and the Fire Engines,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Laurel Aitken,
Wolf Eyes,
Donny Hathaway,
Ken Boothe,
Warsaw,
Yazoo,
The Tremeloes,
Freddie Wadling,
Section 25,
Curtis Mayfield,
The Saints,
Harry Pussy,
Cal Tjader,
Röyhkä ja Rättö ja Lehtisalo,
The Leaves,
Surgeon,
U.S. Maple,
The Moleskins,
Amon Düül II,
Al Stewart,
Rod Modell,
Big Daddy Kane,
Lizzy Mercier Descloux,
Stockholm Monsters,
Peter and Kerry,
De La Soul & Jungle Brothers,
Sparks,
The Modern Lovers,
Jacques Brel,
X-102,
Lalo Schifrin,
Bootsy's Rubber Band,
The Busters,
Louis and Bebe Barron,
Metal Thangz,
Sly & The Family Stone,
the Normal,
Lower 48,
Johnny Clarke,
Faraquet,
Audionom,
Bronski Beat,
Fatback Band,
Lakeside,
Eden Ahbez,
Marshall Jefferson,
Mission of Burma,
Rahsaan Roland Kirk,
Darondo,
DJ Style,
The Standells,
R.M.O.,
Dave Gahan,
Justin Hinds & The Dominoes,
These Immortal Souls,
the Germs,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.