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 Italy and from Toronto.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Toronto and Lagos.
I'm losing my edge to the art-school Woodstock 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 Nile Rodgers 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 John Holt to the grunge kids.
I played it at the 40 Watt.
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 Grandmaster Flash. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Notorious BIG live in Amsterdam,
Crispian St. Peters,
The Doors,
Lizzy Mercier Descloux,
Dead Boys,
The Dirtbombs,
Jeff Mills,
Lou Christie,
Absolute Body Control,
Radiopuhelimet,
Black Bananas,
Sun Ra,
Radiohead,
Buzzcocks,
Main Source,
The Moleskins,
Talk Talk,
Warren Ellis,
Connie Case,
Jeff Lynne,
Pere Ubu,
Jeru the Damaja,
Byron Stingily,
Soul II Soul,
Half Japanese,
the Fania All-Stars,
The Walker Brothers,
Mo-Dettes,
Charles Mingus,
Sight & Sound,
Grandmaster Flash,
Essential Logic,
Kauko Röyhkä ja Narttu,
The Tremeloes,
Nas,
Crash Course in Science,
Swans,
James Chance & The Contortions,
Public Image Ltd.,
Amon Düül,
Andrew Ashong & Theo Parrish,
Girls At Our Best!,
Drexciya,
Intrusion,
Be Bop Deluxe,
Terrestrial Tones,
Ralphi Rosario,
The Divine Comedy,
Kas Product,
Glambeats Corp.,
Spoonie Gee,
Bobby Byrd,
Thee Headcoats,
Masters at Work,
Susan Cadogan,
Piero Umiliani,
cv313,
the Human League,
Juan Atkins,
Altered Images,
Marshall Jefferson,
Mr. Review,
The Cramps, The Cramps, The Cramps, The Cramps.
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.