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 Bulgaria and from Bremen.
But I was there.
I was there in 1973.
I was there at the first Television 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 Winnipeg and London.
I'm losing my edge to the art-school Glasgow 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 synthesizer 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 Ultra Naté to the funk kids.
I played it at the Astoria.
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 Todd Terry. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Cluster,
Lakeside,
Kaleidoscope,
Yaz,
Clear Light,
Public Image Ltd.,
Bootsy Collins,
Kurtis Blow,
Rotary Connection,
Zapp,
Bootsy's Rubber Band,
MC5,
The Barracudas,
Cybotron,
Marine Girls,
Absolute Body Control,
The Dirtbombs,
Unrelated Segments,
Brass Construction,
Sixth Finger,
Hashim,
The Leaves,
Eli Mardock,
The Fortunes,
Marshall Jefferson,
Lou Christie,
Sarah Menescal,
Manfred Mann's Earth Band,
The Star Department,
Parry Music,
The Fall,
The Real Kids,
Kool G Rap & DJ Polo,
Surgeon,
Wire,
Chris Corsano,
Robert Wyatt,
Suburban Knight,
Max Romeo,
The Jesus and Mary Chain,
June of 44,
the Bar-Kays,
Shoche,
De La Soul & Jungle Brothers,
Rekid,
The Kinks,
Qualms,
Kas Product,
Half Japanese,
Eden Ahbez,
Susan Cadogan,
Animal Collective,
The Remains,
Gang of Four,
Roxette,
Piero Umiliani,
Funkadelic,
Bizarre Inc.,
The Sonics,
Alice Coltrane,
Andrew Ashong & Theo Parrish,
The Music Machine,
Hoover,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.