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 Barbados and from Beijing.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Manila and London.
I'm losing my edge to the art-school Lagos 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 Nile Rodgers 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 It's A Beautiful Day to the rap 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 Vainqueur. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
DJ Style,
Gabor Szabo,
Ice-T,
The Sisters of Mercy,
Peter and Kerry,
CMW,
Ten City,
The Chocolate Watch Band,
Ultravox,
Symarip,
Chrome,
La Düsseldorf,
Skriet,
The Toasters,
Harry Pussy,
Chris & Cosey,
Pete Rock & C.L. Smooth,
10cc,
the Normal,
Matthew Bourne,
Pylon,
Deutsch Amerikanische Freundschaft,
In Retrospect,
X-101,
Lou Reed & John Cale,
Danielle Patucci,
Chris Corsano,
Bauhaus,
Kevin Saunderson,
Sex Pistols,
Stetsasonic,
Saccharine Trust,
Marshall Jefferson,
Jimmy McGriff,
Banda Bassotti,
Scott Walker,
Porter Ricks,
U.S. Maple,
Lyres,
Joe Smooth,
Heaven 17,
Thompson Twins,
Massinfluence,
Pet Shop Boys,
Moss Icon,
The Selecter,
Dr. Dre and Snoop Doggy Dog,
Pantytec,
Idris Muhammad,
the Sonics,
Negative Approach,
the Bar-Kays,
Crispian St. Peters,
The Saints,
Neil Young,
Avey Tare's Slasher Flicks,
Barry Ungar,
Yazoo,
The Music Machine,
Delon & Dalcan,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.