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 Iran and from Milan.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Seoul and Beijing.
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 chamberlin 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 The Busters to the dance 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 The Young Rascals. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Roy Ayers,
Roxette,
Organ,
Soft Cell,
The Litter,
The Techniques,
Icehouse,
Essential Logic,
Sunsets and Hearts,
Rhythim Is Rhythim,
Peter Gordon & Love of Life Orchestra,
The Offenders,
Rhythm & Sound,
The Jesus and Mary Chain,
The Peanut Butter Conspiracy,
Lungfish,
Animal Collective,
Gong,
Tropical Tobacco,
The Motions,
Throbbing Gristle,
Scan 7,
Country Teasers,
Lightning Bolt,
Mr. Review,
Pet Shop Boys,
Jerry's Kids,
Dorothy Ashby,
The Remains,
The Fortunes,
Richard Hell and the Voidoids,
Los Fastidios,
Newcleus,
The Detroit Cobras,
Deutsch Amerikanische Freundschaft,
Dark Day,
Hoover,
Nation of Ulysses,
the Fania All-Stars,
Skarface,
The Tremeloes,
New York Dolls,
Neil Young & Crazy Horse,
Nico,
H. Thieme,
Bang On A Can,
The Zeros,
Tubeway Army,
The Doors,
Derrick Morgan,
JFA,
Art Ensemble Of Chicago,
X-101,
Masters at Work,
Morten Harket,
Camouflage,
David Bowie,
Sonny Sharrock,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.