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 Kosovo and from Cairo.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Hong Kong 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 mellotron 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 Smoke to the punk 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 Newcleus. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can 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 J.B.'s,
Man Parrish,
Soul II Soul,
Radiopuhelimet,
The Misunderstood,
Traffic Nightmare,
Albert Ayler,
Neu!,
Fatback Band,
the Bar-Kays,
Thinking Fellers Union Local 282,
Alice Coltrane,
Sam Rivers,
In Retrospect,
The Beau Brummels,
Rakim,
The Modern Lovers,
Joe Finger,
The Selecter,
Altered Images,
Make Up,
Liaisons Dangereuses,
Lightning Bolt,
Drive Like Jehu,
Siglo XX,
Brick,
The Gun Club,
The Motions,
Donny Hathaway,
Gil Scott-Heron & Brian Jackson,
Masters at Work,
the Soft Cell,
Jimmy McGriff,
Circle Jerks,
Andrew Ashong & Theo Parrish,
China Crisis,
Hot Snakes,
Section 25,
The Durutti Column,
Aswad,
Be Bop Deluxe,
James Chance & The Contortions,
Warsaw,
Kas Product,
Jacques Brel,
Kool Moe Dee,
Neil Young,
Sandy B,
Desert Stars,
Ronnie Foster,
Absolute Body Control,
X-Ray Spex,
Howard Jones,
Freddie Wadling,
Hoover,
48th St. Collective,
The Real Kids,
Cybotron,
Boogie Down Productions,
The Gories,
The Count Five,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.