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 Guatemala and from Tokyo.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Bremen.
I'm losing my edge to the art-school New York 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 organ 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 New York Dolls to the dance kids.
I played it at the Spitz.
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 John Foxx. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Camron Feat. Jay Z And Juelz 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Monks,
Cluster,
T. Rex,
Roxy Music,
The Dead C,
Jesper Dahlbäck,
Barbara Tucker,
Cameo,
Curtis Mayfield,
Ultravox,
The Peanut Butter Conspiracy,
Masters at Work,
Khruangbin,
Barry Ungar,
Quantec,
Procol Harum,
Heaven 17,
Matthew Halsall,
Cal Tjader,
Desert Stars,
PIL,
Stereo Dub,
The Knickerbockers,
Smog,
Blancmange,
Carl Craig,
Yusef Lateef,
Sandy B,
The Misunderstood,
Zapp,
Throbbing Gristle,
Avey Tare,
Lebanon Hanover,
Maurizio,
Crime,
Absolute Body Control,
The Smiths,
Shuggie Otis,
Big Daddy Kane,
Hashim,
Oppenheimer Analysis,
Sight & Sound,
Banda Bassotti,
Popol Vuh,
Terrestrial Tones,
Los Fastidios,
Gil Scott Heron,
The Men They Couldn't Hang,
Sällskapet,
Michelle Simonal,
Harmonia,
Slave,
Pete Rock & C.L. Smooth,
Leonard Cohen,
Cybotron,
The Monks,
The New Christs,
The Stooges,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.