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 France and from Houston.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Madrid.
I'm losing my edge to the art-school Paris 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 arpeggiator 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 James White and The Blacks to the techno kids.
I played it at the Roxy.
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 Delon & Dalcan. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
The Residents,
Kerrie Biddell,
Siglo XX,
Wally Richardson,
Bobby Byrd,
Unrelated Segments,
Japan,
Circle Jerks,
London Community Gospel Choir,
Supertramp,
Pharoah Sanders,
Bootsy Collins,
The Shadows of Knight,
David Axelrod,
Faraquet,
The Young Rascals,
Hot Snakes,
Minutemen,
LL Cool J,
Dr. Dre and Snoop Doggy Dog,
The Evens,
Mary Jane Girls,
Scott Walker + Sunn O))),
Piero Umiliani,
Q65,
Stiv Bators,
Wolf Eyes,
Alice Coltrane,
The Happenings,
The Chocolate Watch Band,
Underground Resistance,
The Techniques,
The Men They Couldn't Hang,
The Count Five,
James Chance & The Contortions,
Morten Harket,
Liliput,
Pantytec,
Albert Ayler,
Chris & Cosey,
Absolute Body Control,
Dorothy Ashby,
10cc,
The Remains,
Von Mondo,
Notorious Big And Bone Thugs,
Janne Schatter,
Rufus Thomas,
Guru Guru,
Nation of Ulysses,
Sixth Finger,
Shoche,
Rhythm & Sound,
Pulsallama,
X-101,
Bobby Sherman,
Archie Shepp,
Smog,
Lou Christie,
The Mighty Diamonds,
Groovy Waters,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.