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 Montenegro and from Philadelphia.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Mexico City and New York.
I'm losing my edge to the art-school Mexico City 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 spring reverb 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 Marcia Griffiths to the disco kids.
I played it at Trash.
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 Circle Jerks. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a June Days 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?
Brand Nubian,
Cybotron,
The Searchers,
Rufus Thomas,
Andrew Ashong & Theo Parrish,
The Royal Family And The Poor,
It's A Beautiful Day,
The Count Five,
Warren Ellis,
The Selecter,
The Cramps,
Jeff Lynne,
Pharoah Sanders,
Erasure,
The Smoke,
Gang Green,
Joe Finger,
Barrington Levy,
Camouflage,
Piero Umiliani,
D'Angelo,
Adolescents,
Pulsallama,
Ronan,
James Chance & The Contortions,
Dead Boys,
Michelle Simonal,
Loose Ends,
Anakelly,
Animal Collective,
Oppenheimer Analysis,
Major Organ And The Adding Machine,
Wings,
Trumans Water,
Section 25,
the Germs,
Pharaoh Sanders and the Fire Engines,
Minny Pops,
Suicide,
cv313,
Fatback Band,
Stereo Dub,
L. Decosne,
Accadde A,
Tears for Fears,
The Detroit Cobras,
Avey Tare,
A Flock of Seagulls,
Glambeats Corp.,
The Real Kids,
Minutemen,
Pet Shop Boys,
The Grass Roots,
Fad Gadget,
Gang Starr,
Beasts of Bourbon,
The Tremeloes,
Marc Romboy vs. Booka Shade,
June Days,
These Immortal Souls,
Ken Boothe,
Terrestrial Tones,
Max Romeo,
Chrome, Chrome, Chrome, Chrome.
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.