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 Haiti and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 Holger Czukay 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 Bobby Hutcherson to the disco 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 Sixth Finger. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Todd Rundgren record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Andrew Ashong & Theo Parrish,
kango's stein massive,
Röyhkä ja Rättö ja Lehtisalo,
The Smoke,
Bob Dylan,
Marc Romboy vs. Booka Shade,
Nas,
Von Mondo,
Deakin,
Avey Tare & Kría Brekkan,
The Skatalites,
Thee Headcoats,
Popol Vuh,
The Searchers,
Marc Almond,
Monks,
OOIOO,
Donald Byrd,
Sam Rivers,
Peter & Gordon,
Wally Richardson,
Dr. Dre and Snoop Doggy Dog,
Eric Copeland,
Lou Reed,
Half Japanese,
the Association,
Jawbox,
Piero Umiliani,
Hoover,
Eve St. Jones,
Kerri Chandler,
Scan 7,
Eddi Front,
The Residents,
Inner City,
James White and The Blacks,
Lou Reed & John Cale,
Nick Fraelich,
Glambeats Corp.,
The Divine Comedy,
Roger Hodgson,
The Angels of Light,
Godley & Creme,
L. Decosne,
Jesper Dahlbäck,
Gil Scott-Heron & Brian Jackson,
Underground Resistance,
Avey Tare,
Massinfluence,
The Velvet Underground,
Josef K,
the Slits,
Pierre Henry,
Johnny Clarke,
The Music Machine,
Sunsets and Hearts,
Junior Murvin,
Rhythm & Sound,
Sex Pistols,
Grey Daturas,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.