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 South Sudan and from Tokyo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Salvador 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 Rotary Connection to the punk kids.
I played it at the Troubador.
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 Camberwell Now. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every June Days 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Peter Gordon & Love of Life Orchestra,
Richard Hell and the Voidoids,
Röyhkä ja Rättö ja Lehtisalo,
New York Dolls,
Soft Machine,
Dawn Penn,
the Slits,
Gichy Dan,
Quadrant,
Qualms,
Barclay James Harvest,
The West Coast Pop Art Experimental Band,
Desert Stars,
Panda Bear,
Niagra,
OOIOO,
Nick Cave & The Bad Seeds,
Eurythmics,
Popol Vuh,
Radiopuhelimet,
Lower 48,
The Mighty Diamonds,
Glambeats Corp.,
Slick Rick,
Infiniti,
Wolf Eyes,
Kaleidoscope,
K-Klass,
Kerri Chandler,
Massinfluence,
The Techniques,
Andrew Ashong & Theo Parrish,
Blancmange,
Main Source,
The Searchers,
cv313,
The Associates,
Jeff Mills,
Ice-T,
Arthur Verocai,
the Soft Cell,
Robert Wyatt,
Silicon Teens,
Sight & Sound,
Inner City,
Eli Mardock,
Y Pants,
Prince Buster,
Terrestrial Tones,
The Chocolate Watch Band,
DeepChord presents Echospace,
Neu!,
Amon Düül,
Pole,
the Bar-Kays,
Theoretical Girls,
John Coltrane,
Nik Kershaw,
The Names,
Skriet,
Gregory Isaacs,
Bluetip, Bluetip, Bluetip, Bluetip.
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.