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 Ghana and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Paris and Calgary.
I'm losing my edge to the art-school Mumbai 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 808 sounds with much patience.
I was there when Holger Czukay 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 The Remains to the electroclash 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 Soft Machine. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Delon & Dalcan 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
The Evens,
the Soft Cell,
Nick Fraelich,
Ralphi Rosario,
Drexciya,
Pagans,
The Invisible,
Gary Puckett & The Union Gap,
Sonic Youth,
In Retrospect,
Parry Music,
De La Soul & Jungle Brothers,
Interpol,
Funkadelic,
The Zeros,
Mary Jane Girls,
Gastr Del Sol,
Wire,
John Foxx,
June Days,
The Toasters,
Trumans Water,
The Last Poets,
Aswad,
Scan 7,
DeepChord presents Echospace,
Sad Lovers and Giants,
Hasil Adkins,
Warsaw,
James Chance & The Contortions,
T. Rex,
Throbbing Gristle,
The Alarm Clocks,
Inner City,
Matthew Halsall,
Jesper Dahlbäck,
Todd Terry,
Charles Mingus,
Von Mondo,
Sound Behaviour,
Avey Tare's Slasher Flicks,
Delta 5,
The Tremeloes,
World's Most,
Fela Kuti,
Urselle,
Amon Düül II,
Massinfluence,
Gang Starr,
Stetsasonic,
David McCallum,
Minor Threat,
Radio Birdman,
Scrapy,
Crispian St. Peters,
New Order,
Jeru the Damaja,
The Monochrome Set,
Stereo Dub,
Eddi Front,
The Black Dice,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.