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 Gambia and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Lyon and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 rhodes sounds with much patience.
I was there when David Bowie 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 Graham Central Station to the grime 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 Jacob Miller. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every F. McDonald 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Chris & Cosey,
Organ,
Saccharine Trust,
X-102,
Sad Lovers and Giants,
Sister Nancy,
Junior Murvin,
Yellowson,
Jacques Brel,
Black Flag,
The Sisters of Mercy,
Arthur Verocai,
The Gap Band,
Mr. Review,
Cabaret Voltaire,
Kerrie Biddell,
Thee Headcoats,
Accadde A,
Lou Reed & Metallica,
Technova,
Electric Light Orchestra,
Jesper Dahlback,
Warsaw,
Gabor Szabo,
Strawberry Alarm Clock,
The Moody Blues,
Patti Smith,
Judy Mowatt,
Henry Cow,
Neil Young & Crazy Horse,
Khruangbin,
Peter and Kerry,
Anthony Braxton,
Lalo Schifrin,
Mad Mike,
Neu!,
Soulsonic Force,
Shuggie Otis,
Jimmy McGriff,
Oblivians,
La Düsseldorf,
The Smoke,
The Sonics,
L. Decosne,
Carl Craig,
DJ Sneak,
Deadbeat,
Deakin,
The Misunderstood,
Andrew Hill,
Amon Düül II,
Barclay James Harvest,
Terry Callier,
Babytalk,
Mission of Burma,
Livin' Joy,
Sam Rivers,
Magma,
Buzzcocks,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.