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 Togo and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Sao Paulo 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 sitar sounds with much patience.
I was there when Robert Palmer 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 DJ Style to the jazz 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 The Sonics. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Eurythmics 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
James White and The Blacks,
Lou Christie,
the Fania All-Stars,
Sex Pistols,
Monolake,
Whodini,
Laurel Aitken,
Sly & The Family Stone,
Crispian St. Peters,
The Black Dice,
The Stooges,
The Wake,
Larry & the Blue Notes,
Pete Rock & C.L. Smooth,
Unrelated Segments,
Bronski Beat,
Lou Reed & John Cale,
Basic Channel,
Lower 48,
Royal Trux,
Von Mondo,
The Toasters,
Soft Cell,
New York Dolls,
John Foxx,
Section 25,
Liliput,
Davy DMX,
Thinking Fellers Union Local 282,
Rotary Connection,
Kool G Rap & DJ Polo,
The Chocolate Watch Band,
Sticky Fingaz feat. Raekwon,
Man Parrish,
Adolescents,
Prince Buster,
Organ,
The Detroit Cobras,
The Martian,
Gian Franco Pienzio,
Lightning Bolt,
Soul II Soul,
Anthony Braxton,
Richard Hell and the Voidoids,
Peter and Kerry,
Wolf Eyes,
Sight & Sound,
Man Eating Sloth,
The Smoke,
Alison Limerick,
Quantec,
Carl Craig,
CMW,
Cabaret Voltaire,
The Smiths,
Camouflage,
Wally Richardson,
Lou Reed,
Vladislav Delay,
R.M.O.,
Rufus Thomas,
Bootsy Collins,
Stereo Dub,
Sparks, Sparks, Sparks, Sparks.
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.