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 Congo and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1973.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Accra 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 güiro 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 Brass Construction to the techno 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 Sandy B. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Technova,
Hot Snakes,
Camberwell Now,
Slick Rick,
The Count Five,
Siouxsie and the Banshees,
Pantaleimon,
Throbbing Gristle,
Brand Nubian,
The Sonics,
The Tremeloes,
Nik Kershaw,
Kool Moe Dee,
Chris & Cosey,
The Techniques,
Nick Fraelich,
Unwound,
Glenn Branca,
The Walker Brothers,
Al Stewart,
Barclay James Harvest,
Be Bop Deluxe,
The Skatalites,
Smog,
Patti Smith,
T. Rex,
Eurythmics,
Jesper Dahlbäck,
The Move,
The Standells,
Tomorrow,
La Düsseldorf,
Sun Ra Arkestra,
Bad Manners,
Colin Newman,
Lalann,
Donald Byrd,
Deakin,
Harmonia,
Sällskapet,
Hoover,
Don Cherry,
Kool G Rap & DJ Polo,
Bobby Hutcherson,
Big Daddy Kane,
Neil Young,
Jimmy McGriff,
The Gap Band,
Gary Puckett & The Union Gap,
Dark Day,
DNA,
Man Eating Sloth,
Gang Starr,
Joy Division,
Blancmange,
Röyhkä ja Rättö ja Lehtisalo,
Rites of Spring,
Selector Dub Narcotic,
ABC, ABC, ABC, ABC.
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.