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 Chad and from Philadelphia.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and New York.
I'm losing my edge to the art-school Spokane 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 güiro 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 10cc to the funk kids.
I played it at the Crocodile.
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 Normal. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Section 25 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Stiv Bators,
Ituana,
Fear,
Carl Craig,
Bronski Beat,
Amon Düül II,
DNA,
Camouflage,
Pere Ubu,
Lebanon Hanover,
Funkadelic,
The Techniques,
Symarip,
Wasted Youth,
Ultra Naté,
The Divine Comedy,
The Cure,
The Gun Club,
Model 500,
Eli Mardock,
London Community Gospel Choir,
Masters at Work,
Technova,
Basic Channel,
The Invisible,
The Neon Judgement,
Negative Approach,
Crash Course in Science,
Lou Reed,
Hot Snakes,
Moss Icon,
Shoche,
the Germs,
Sister Nancy,
Niagra,
Neu!,
Matthew Halsall,
The Fugs,
Jesper Dahlback,
Pantytec,
The Saints,
Hasil Adkins,
Pagans,
Peter and Kerry,
Hoover,
Cluster,
Lou Reed & John Cale,
Gregory Isaacs,
Second Layer,
Malaria!,
Blake Baxter,
Pierre Henry,
Sixth Finger,
Marmalade,
Unrelated Segments,
Terror Squad Feat. Camron,
Liliput,
Gian Franco Pienzio,
Alphaville,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.