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 Djibouti and from New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Lille.
I'm losing my edge to the art-school Salvador 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 808 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 The Detroit Cobras to the jazz 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 Barrington Levy. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal disco 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
The Happenings,
The Mighty Diamonds,
Marc Romboy vs. Booka Shade,
The Doors,
Selector Dub Narcotic,
Soft Cell,
Dorothy Ashby,
X-102,
Mo-Dettes,
Jacques Brel,
The Chocolate Watch Band,
Electric Prunes,
Con Funk Shun,
The Real Kids,
Al Stewart,
Kauko Röyhkä ja Narttu,
Minor Threat,
DNA,
David Axelrod,
Gabor Szabo,
Moby Grape,
Quantec,
Unrelated Segments,
Wasted Youth,
Supertramp,
The Move,
DJ Sneak,
Excepter,
Ludus,
Fifty Foot Hose,
The Motions,
The Divine Comedy,
Cybotron,
Sunsets and Hearts,
Fatback Band,
Schoolly D,
Fad Gadget,
Bob Dylan,
Sarah Menescal,
Das Ding,
Man Eating Sloth,
Eric Dolphy,
The American Breed,
Warren Ellis,
The Red Krayola,
MC5,
In Retrospect,
Traffic Nightmare,
Don Cherry,
The Sound,
Soul II Soul,
Marc Almond,
Second Layer,
Banda Bassotti,
Bill Near,
Vladislav Delay,
Stetsasonic,
The Names,
Yusef Lateef,
Popol Vuh,
Slave,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.