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 Azerbaijan and from Copenhagen.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Seoul and Columbus.
I'm losing my edge to the art-school Philadelphia 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Pharoah Sanders to the jazz kids.
I played it at the 40 Watt.
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 Throbbing Gristle. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Kango’s Stein Massive,
Toni Rubio,
EPMD,
Main Source,
Mantronix,
Sun Ra,
Motorama,
Pagans,
Warsaw,
These Immortal Souls,
Grandmaster Flash and the Furious Five,
the Soft Cell,
The Martian,
Basic Channel,
Funkadelic,
Alphaville,
Gregory Isaacs,
Albert Ayler,
The Jesus and Mary Chain,
Amazonics,
Wolf Eyes,
Pantytec,
Section 25,
Bauhaus,
Dennis Brown,
Flash Fearless,
Nirvana,
kango's stein massive,
Eve St. Jones,
Alton Ellis,
The Young Rascals,
The Shadows of Knight,
A Certain Ratio,
The Men They Couldn't Hang,
James White and The Blacks,
Arthur Verocai,
Franke,
The Divine Comedy,
Massinfluence,
UT,
Country Joe & The Fish,
Ice-T,
Depeche Mode,
David McCallum,
Whodini,
Lucky Dragons,
The Knickerbockers,
Joey Negro,
Sunsets and Hearts,
Shuggie Otis,
Joe Smooth,
Interpol,
Alison Limerick,
Visage,
Quando Quango,
E-Dancer,
Negative Approach,
David Bowie,
Peter Gordon & Love of Life Orchestra,
The Golliwogs,
Can, Can, Can, Can.
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.