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 Sao Paulo.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Bremen and Copenhagen.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Janne Schatter to the crunk kids.
I played it at the Crocodile.
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 It's A Beautiful Day. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Flipper 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Excepter,
Gang Green,
Joyce Sims,
Deutsch Amerikanische Freundschaft,
Thinking Fellers Union Local 282,
Buzzcocks,
Avey Tare,
Liliput,
Alphaville,
Gil Scott Heron,
Echo & the Bunnymen,
Lou Reed,
The J.B.'s,
Japan,
Lou Reed & John Cale,
Sam Rivers,
Vladislav Delay,
The Cosmic Jokers,
Gary Puckett & The Union Gap,
Kool Moe Dee,
Guru Guru,
Dr. Dre and Snoop Doggy Dog,
The Alarm Clocks,
The Count Five,
Iggy Pop,
Chris Corsano,
Minor Threat,
Eli Mardock,
Gregory Isaacs,
MC5,
Model 500,
Au Pairs,
DJ Sneak,
Sister Nancy,
Moss Icon,
Stiv Bators,
Arcadia,
Bill Near,
Gang Starr,
Jacob Miller,
Glambeats Corp.,
Jesper Dahlback,
The Smiths,
Cameo,
Altered Images,
The Angels of Light,
FM Einheit,
Amon Düül II,
One Last Wish,
Frankie Knuckles,
Eric Dolphy,
Jawbox,
Andrew Ashong & Theo Parrish,
Johnny Osbourne,
Bobby Womack,
Echospace,
Röyhkä ja Rättö ja Lehtisalo,
Interpol,
The Gories, The Gories, The Gories, The Gories.
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.