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 Iran and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Edmonton 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Gabor Szabo to the techno kids.
I played it at the Troubador.
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 The Victims. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Nick Cave & The Bad Seeds record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Dual Sessions,
The Smiths,
Desert Stars,
Bobby Hutcherson,
The Busters,
Scrapy,
Frankie Knuckles,
Wings,
The Blackbyrds,
Bluetip,
Kurtis Blow,
Rahsaan Roland Kirk,
Erasure,
Saccharine Trust,
Ajijia Myrayebe,
The Dirtbombs,
Electric Light Orchestra,
Nik Kershaw,
Dorothy Ashby,
The New Christs,
Pharoah Sanders,
Intrusion,
Siouxsie and the Banshees,
Sex Pistols,
Hashim,
Gang Gang Dance,
Make Up,
Roy Ayers,
Gastr Del Sol,
Ultramagnetic MC's,
Hasil Adkins,
Matthew Halsall,
Quadrant,
Tim Buckley,
Avey Tare's Slasher Flicks,
Super Lover Cee & Casanova Rud,
The American Breed,
8 Eyed Spy,
Funky Four + One,
Supertramp,
Bill Near,
Index,
The Offenders,
the Slits,
The Cosmic Jokers,
The Royal Family And The Poor,
Vainqueur,
Infiniti,
Fela Kuti,
Siglo XX,
Black Bananas,
Rapeman,
Eli Mardock,
Chris & Cosey,
The Jesus and Mary Chain,
10cc,
Rowland S Howard / Lydia Lunch,
Mr. Review,
New York Dolls,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.