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 Indonesia and from Spokane.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Paris and Spokane.
I'm losing my edge to the art-school Madrid 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Darondo to the dance kids.
I played it at Cafe Wha.
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 Kevin Saunderson. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
The Slits,
the Bar-Kays,
Lizzy Mercier Descloux,
Major Organ And The Adding Machine,
Cluster,
Black Moon,
the Fania All-Stars,
The New Christs,
Aaron Thompson,
Lonnie Liston Smith,
The Move,
John Holt,
Wolf Eyes,
Khruangbin,
Gang Starr,
The Angels of Light,
Beasts of Bourbon,
Ultramagnetic MC's,
Stetsasonic,
Louis and Bebe Barron,
Kool G Rap & DJ Polo,
Peter and Kerry,
John Coltrane,
Bobbi Humphrey,
T. Rex,
Jeff Mills,
Gang Green,
Ultimate Spinach,
K-Klass,
The Sound,
The Mummies,
Saccharine Trust,
Sound Behaviour,
The Gladiators,
Orchestral Manoeuvres in the Dark,
Royal Trux,
Roxy Music,
Little Man,
Lou Christie,
Oppenheimer Analysis,
Pet Shop Boys,
Blossom Toes,
Boz Scaggs,
Hot Snakes,
CMW,
Supertramp,
Severed Heads,
L. Decosne,
The Raincoats,
Desert Stars,
Gabor Szabo,
Alphaville,
Sexual Harrassment,
B.T. Express,
JFA,
Derrick Morgan,
Bobby Byrd,
Rekid,
The Fall,
The Doobie Brothers,
The Busters,
DNA, DNA, DNA, DNA.
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.