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 the UAE and from Milan.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Tehran and Woodstock.
I'm losing my edge to the art-school Tehran 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 theremin 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 Pierre Henry to the rock kids.
I played it at the Crocodile.
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 Spandau Ballet. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Bizarre Inc.,
FM Einheit,
Rapeman,
The Searchers,
Lou Christie,
Avey Tare's Slasher Flicks,
D'Angelo,
Alison Limerick,
Harpers Bizarre,
Crooked Eye,
Make Up,
Amazonics,
Organ,
Pet Shop Boys,
Wings,
The Sonics,
Teenage Jesus and the Jerks,
Marvin Gaye,
Unrelated Segments,
Anakelly,
X-101,
Jesper Dahlbäck,
Fort Wilson Riot,
Interpol,
London Community Gospel Choir,
Depeche Mode,
Liaisons Dangereuses,
Flamin' Groovies,
Gabor Szabo,
Rhythm & Sound,
Sarah Menescal,
Ronan,
Jerry's Kids,
This Heat,
The Mojo Men,
Ohio Players,
Sex Pistols,
Rhythim Is Rhythim,
Black Flag,
Faraquet,
The Beau Brummels,
Johnny Clarke,
The Doobie Brothers,
Kerrie Biddell,
Blake Baxter,
Idris Muhammad,
Bauhaus,
Andrew Ashong & Theo Parrish,
Godley & Creme,
MC5,
Clear Light,
Grandmaster Flash,
Underground Resistance,
the Human League,
Deakin,
June Days,
Funkadelic,
DJ Style,
The Invisible,
Peter & Gordon,
The Dirtbombs,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.