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 Nauru and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Lagos 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 marimba sounds with much patience.
I was there when Lou Reed 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 Delon & Dalcan to the funk kids.
I played it at Cafe Wha.
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 Masters at Work. All the underground hits.
All Wighnomy Brothers & Robag Wruhme tracks. I heard you have a vinyl of every Avey Tare 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Excepter,
Laurel Aitken,
Patti Smith,
Darondo,
Bush Tetras,
Soft Machine,
Organ,
Suburban Knight,
Unrelated Segments,
Swell Maps,
Maleditus Sound,
Morten Harket,
Crispian St. Peters,
The Golliwogs,
Schoolly D,
Marmalade,
The J.B.'s,
Kaleidoscope,
The Dead C,
The Wake,
Gregory Isaacs,
The Last Poets,
Cameo,
Frankie Knuckles,
Crispy Ambulance,
MDC,
Echo & the Bunnymen,
The Toasters,
Terry Callier,
Dark Day,
In Retrospect,
Japan,
Blancmange,
Sparks,
Urselle,
Kool G Rap & DJ Polo,
Radiopuhelimet,
Infiniti,
The Index,
Mars,
Harpers Bizarre,
Spandau Ballet,
Roy Ayers,
Gary Puckett & The Union Gap,
48th St. Collective,
Amon Düül II,
Hoover,
Jeru the Damaja,
Stockholm Monsters,
Avey Tare & Kría Brekkan,
Basic Channel,
Tears for Fears,
China Crisis,
Bobbi Humphrey,
Marvin Gaye,
June of 44,
Glenn Branca,
Ultravox,
Eric B and Rakim,
Grandmaster Flash and the Furious Five,
Young Marble Giants,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.