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 Maldives and from New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Tehran and New York.
I'm losing my edge to the art-school Johannesburg 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 Michael McDonald 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 Connie Case to the disco 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 Average White Band. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Piero Umiliani,
Alison Limerick,
Gary Puckett & The Union Gap,
Stetsasonic,
Silicon Teens,
Eric Dolphy,
Young Marble Giants,
Kevin Saunderson,
Bang on a Can All-Stars,
Howard Jones,
Reuben Wilson,
EPMD,
Andrew Hill,
Black Bananas,
Theoretical Girls,
Drive Like Jehu,
Ten City,
Nik Kershaw,
H. Thieme,
Eve St. Jones,
Tres Demented,
The Durutti Column,
Pantytec,
Gil Scott-Heron & Brian Jackson,
Chrome,
Kas Product,
Avey Tare's Slasher Flicks,
MDC,
Dennis Brown,
Q and Not U,
Marcia Griffiths,
Tubeway Army,
Boz Scaggs,
Faraquet,
Andrew Ashong & Theo Parrish,
cv313,
Amon Düül,
Jerry Gold Smith,
Sex Pistols,
The Cosmic Jokers,
Gerry Rafferty,
Severed Heads,
Rites of Spring,
Simply Red,
Fluxion,
Mandrill,
Byron Stingily,
Lalann,
Joy Division,
The Electric Prunes,
Scratch Acid,
Janne Schatter,
the Soft Cell,
Fugazi,
Country Joe & The Fish,
Kool Moe Dee,
The Shadows of Knight,
Bronski Beat,
Lalo Schifrin,
The Gun Club,
The Litter,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.