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 Guinea-Bissau and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
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 arpeggiator 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 Sticky Fingaz feat. Raekwon to the electroclash 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 New Order. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Nas,
Public Image Ltd.,
The Human League,
Iggy Pop,
Brick,
Sarah Menescal,
Parry Music,
June of 44,
Lucky Dragons,
Skriet,
The Techniques,
Orchestral Manoeuvres in the Dark,
Aswad,
Juan Atkins,
the Human League,
Joensuu 1685,
Tomorrow,
Pagans,
Banda Bassotti,
Boogie Down Productions,
Blancmange,
E-Dancer,
Fifty Foot Hose,
Roxy Music,
Nils Olav,
The Knickerbockers,
KRS-One,
Morten Harket,
Alton Ellis,
Fad Gadget,
Magma,
Qualms,
The Selecter,
Chrome,
Bauhaus,
New Order,
Lalo Schifrin,
Underground Resistance,
The Men They Couldn't Hang,
Basic Channel,
LL Cool J,
Thee Headcoats,
The Saints,
Leonard Cohen,
The Fortunes,
Pet Shop Boys,
Stockholm Monsters,
Theoretical Girls,
Pierre Henry,
Heaven 17,
Darondo,
T.S.O.L.,
Audionom,
Man Eating Sloth,
The Angels of Light,
Cluster,
Kings Of Tomorrow,
Bill Near,
James Chance & The Contortions,
Blake Baxter,
Susan Cadogan,
Louis and Bebe Barron,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.