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 Eritrea and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Accra and Stockholm.
I'm losing my edge to the art-school Milan 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 linndrum 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 Pierre Henry to the grime kids.
I played it at CBGB's.
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 KRS-One. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
The Trojans,
Depeche Mode,
Notorious BIG live in Amsterdam,
Vladislav Delay,
Rufus Thomas,
ABBA,
Bang on a Can All-Stars,
Smog,
The Angels of Light,
Sister Nancy,
Cymande,
The Detroit Cobras,
Richard Hell and the Voidoids,
Organ,
Lebanon Hanover,
Swans,
It's A Beautiful Day,
The Birthday Party,
Sunsets and Hearts,
Bob Dylan,
Fatback Band,
F. McDonald,
Faraquet,
June of 44,
The Names,
Tom Boy,
Mo-Dettes,
Royal Trux,
Black Sheep,
Lou Christie,
Andrew Hill,
Deepchord,
Neu!,
Dual Sessions,
Rahsaan Roland Kirk,
Ossler,
Sound Behaviour,
Kauko Röyhkä ja Narttu,
The Fortunes,
David McCallum,
Basic Channel,
The Cure,
Ajijia Myrayebe,
Thompson Twins,
Pantaleimon,
Ludus,
The Jesus and Mary Chain,
Kango’s Stein Massive,
Archie Shepp,
Kool Moe Dee,
Erasure,
Visionaries,LMNO, T- Love & Iriscience,
Desert Stars,
Angels of Light & Akron/Family,
Arthur Verocai,
Althea and Donna,
Bronski Beat,
Gong,
Quando Quango,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.