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 Egypt and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Edmonton and Johannesburg.
I'm losing my edge to the art-school Toronto 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 DJ Style to the punk kids.
I played it at Trash.
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 Tim Buckley. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Bush Tetras,
Bang on a Can All-Stars,
Flamin' Groovies,
Ludus,
Albert Ayler,
D'Angelo,
Sex Pistols,
Skriet,
The Index,
Pantytec,
CMW,
Can,
Vaughan Mason & Crew,
Marc Romboy vs. Booka Shade,
Moss Icon,
Throbbing Gristle,
The Five Americans,
Robert Görl,
Minnie Riperton,
Ronan,
Rapeman,
the Fania All-Stars,
Pierre Henry,
Cameo,
Stiv Bators,
Jandek,
Joe Finger,
Red Lorry Yellow Lorry,
X-Ray Spex,
Clear Light,
Aloha Tigers,
Mantronix,
Lee Hazlewood,
Donald Byrd,
Avey Tare & Kría Brekkan,
Easy Going,
Fort Wilson Riot,
Maurizio,
Lonnie Liston Smith,
Rhythim Is Rhythim,
June Days,
Oneida,
Prince Buster,
Delon & Dalcan,
Livin' Joy,
Quantec,
The Moleskins,
Public Image Ltd.,
H. Thieme,
Bauhaus,
Jacob Miller,
Matthew Bourne,
Mission of Burma,
Gastr Del Sol,
Cymande,
The Electric Prunes,
Anakelly,
Soft Machine,
Henry Cow,
London Community Gospel Choir,
Louis and Bebe Barron,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.