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 Israel and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Houston.
I'm losing my edge to the art-school Halifax 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 oboe 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 Soulsonic Force 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 Maleditus Sound. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Pulsallama 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet 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?
Gabor Szabo,
Echospace,
Pharoah Sanders,
B.T. Express,
Art Ensemble Of Chicago,
Angry Samoans,
The Five Americans,
Neil Young & Crazy Horse,
Lalann,
The Electric Prunes,
Pole,
Rites of Spring,
Depeche Mode,
Clear Light,
Orchestral Manoeuvres in the Dark,
Fad Gadget,
Public Enemy,
Q65,
Man Parrish,
Harry Pussy,
Swell Maps,
The Jesus and Mary Chain,
Excepter,
Letta Mbulu,
Dark Day,
The Red Krayola,
Rahsaan Roland Kirk,
Ronnie Foster,
The Searchers,
Ossler,
Porter Ricks,
Black Sheep,
a-ha,
Kool G Rap & DJ Polo,
Ultravox,
Traffic Nightmare,
Little Man,
Shuggie Otis,
John Lydon,
Yusef Lateef,
Rhythm & Sound,
Sandy B,
Gary Puckett & The Union Gap,
Michelle Simonal,
The Invisible,
Pete Rock & C.L. Smooth,
Byron Stingily,
Soul II Soul,
Stiv Bators,
Deutsch Amerikanische Freundschaft,
Reuben Wilson,
Royal Trux,
Red Lorry Yellow Lorry,
Röyhkä ja Rättö ja Lehtisalo,
The Birthday Party,
Soft Cell,
EPMD,
Rapeman,
Delta 5,
Derrick May,
The Fall,
the Germs, the Germs, the Germs, the Germs.
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.