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 Djibouti and from Milan.
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 1976.
I'm losing my edge.
To all the kids in Salvador and Copenhagen.
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 snare sounds with much patience.
I was there when Robert Palmer 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 Masters at Work to the funk kids.
I played it at the Hacienda.
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 Joe Finger. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Ultra Naté 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
The Barracudas,
The Detroit Cobras,
James Chance & The Contortions,
Thee Headcoats,
Tommy Roe,
Swans,
Isaac Hayes,
Make Up,
Angry Samoans,
The Knickerbockers,
Pole,
Lee Hazlewood,
Peter & Gordon,
Althea and Donna,
Amazonics,
Ronan,
Minutemen,
Duran Duran,
Andrew Hill,
The Count Five,
Tubeway Army,
Dark Day,
Wighnomy Brothers & Robag Wruhme,
Rakim,
Prince Buster,
It's A Beautiful Day,
Kool G Rap & DJ Polo,
Rotary Connection,
The Trojans,
The Selecter,
Index,
Maleditus Sound,
Jeru the Damaja,
Slave,
Radiopuhelimet,
The Raincoats,
Guru Guru,
Heavy D & The Boyz,
Ituana,
Piero Umiliani,
Nas,
Pharoah Sanders,
Kas Product,
X-102,
Magma,
Average White Band,
Sparks,
Agent Orange,
Gerry Rafferty,
Los Fastidios,
Absolute Body Control,
Kerri Chandler,
Jesper Dahlback,
Technova,
Orchestral Manoeuvres in the Dark,
Drexciya,
Television Personalities,
Red Lorry Yellow Lorry,
Donald Byrd,
Graham Central Station,
Richard Hell and the Voidoids,
Traffic Nightmare,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.