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 Guatemala and from Paris.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1974.
I'm losing my edge.
To all the kids in London and Mexico City.
I'm losing my edge to the art-school Mexico City 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Joey Negro to the techno 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 Faraquet. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Matthew Halsall,
Archie Shepp,
Khruangbin,
Eddi Front,
Sandy B,
Nirvana,
Supertramp,
Reuben Wilson,
Camouflage,
Deutsch Amerikanische Freundschaft,
Bauhaus,
One Last Wish,
Traffic Nightmare,
Sunsets and Hearts,
Glenn Branca,
The Velvet Underground,
Oppenheimer Analysis,
Cheater Slicks,
Yusef Lateef,
Deepchord,
Cabaret Voltaire,
Visionaries,LMNO, T- Love & Iriscience,
OOIOO,
Scion,
Banda Bassotti,
Ash Ra Tempel,
Groovy Waters,
The Doors,
Alphaville,
Au Pairs,
Buzzcocks,
Reagan Youth,
Pharoah Sanders,
Bobby Sherman,
Surgeon,
The Gun Club,
Faust,
China Crisis,
The Five Americans,
Guru Guru,
Rod Modell,
Deadbeat,
Tubeway Army,
Wire,
Jeff Lynne,
The Toasters,
Nico,
Hardrive,
The Smiths,
Marmalade,
Electric Light Orchestra,
Mantronix,
Throbbing Gristle,
Stiv Bators,
Pussy Galore,
The Fuzztones,
Orchestral Manoeuvres in the Dark,
Minnie Riperton,
Wally Richardson,
Drexciya,
Andrew Ashong & Theo Parrish,
Newcleus,
Ornette Coleman,
EPMD, EPMD, EPMD, EPMD.
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.