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 Bhutan and from Jakarta.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 David Bowie 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 Wally Richardson to the crunk 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 PIL. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
The Gories,
Half Japanese,
Technova,
Letta Mbulu,
David Axelrod,
Notorious BIG live in Amsterdam,
The Detroit Cobras,
Joe Finger,
Amazonics,
Slick Rick,
New York Dolls,
Lafayette Afro Rock Band,
Royal Trux,
Faust,
Parry Music,
Pylon,
Adolescents,
Alton Ellis,
Clear Light,
Crispy Ambulance,
Eyeless In Gaza,
Circle Jerks,
Gil Scott-Heron & Brian Jackson,
Rosa Yemen,
Marvin Gaye,
the Bar-Kays,
The Wake,
James White and The Blacks,
Soft Machine,
Monolake,
The Motions,
Ludus,
Rekid,
T. Rex,
Charles Mingus,
Ossler,
The American Breed,
Big Daddy Kane,
Arab on Radar,
The Blues Magoos,
Notorious Big And Bone Thugs,
Neu!,
Das Ding,
Electric Prunes,
Chris Corsano,
Tim Buckley,
Monks,
The Mummies,
Sight & Sound,
The Beau Brummels,
Jesper Dahlbäck,
Bobby Sherman,
Drexciya,
The Associates,
Zero Boys,
Lou Reed & John Cale,
Kango’s Stein Massive,
Kenny Larkin,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.