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 Netherlands and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Houston and Portland.
I'm losing my edge to the art-school Lille 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Cecil Taylor to the dance kids.
I played it at the Spitz.
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 Hoover. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Intrusion,
Kaleidoscope,
June Days,
Alison Limerick,
Ken Boothe,
Henry Cow,
Oblivians,
Kas Product,
Second Layer,
Nick Cave & The Bad Seeds,
Pere Ubu,
The Sound,
MC5,
Das Ding,
Oppenheimer Analysis,
Red Lorry Yellow Lorry,
Grauzone,
Cymande,
Scott Walker,
10cc,
Thompson Twins,
Flash Fearless,
Newcleus,
Jeru the Damaja,
Mark Hollis,
Groovy Waters,
The Remains,
Silicon Teens,
Neu!,
Tom Boy,
The Blackbyrds,
The Names,
Animal Collective,
DJ Style,
Tropical Tobacco,
Susan Cadogan,
Glambeats Corp.,
E-Dancer,
Bad Manners,
Clear Light,
The Selecter,
Cybotron,
Fort Wilson Riot,
The Birthday Party,
Pantytec,
Dual Sessions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roy Ayers Ubiquity,
Slick Rick,
Goldenarms,
Suburban Knight,
Zero Boys,
The Saints,
Joensuu 1685,
Thinking Fellers Union Local 282,
Ultra Naté,
Andrew Hill,
Laurel Aitken,
Motorama,
Sparks,
Darondo, Darondo, Darondo, Darondo.
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.