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 Croatia and from Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Bologna 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 synthesizer 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 It's A Beautiful Day to the crunk 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 Crime. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Todd Terry 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
U.S. Maple,
Brass Construction,
Nick Fraelich,
The Saints,
Quando Quango,
Thinking Fellers Union Local 282,
Schoolly D,
The Toasters,
OOIOO,
Davy DMX,
John Lydon,
Bill Near,
John Foxx,
Rakim,
Unrelated Segments,
Sticky Fingaz feat. Raekwon,
Half Japanese,
Agitation Free,
Ultravox,
B.T. Express,
Rites of Spring,
Faust,
ABC,
New Order,
Kas Product,
UT,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Toni Rubio,
Section 25,
Juan Atkins,
Byron Stingily,
Crispian St. Peters,
Bobby Byrd,
Mad Mike,
The Divine Comedy,
Shuggie Otis,
Yusef Lateef,
Public Enemy,
One Last Wish,
Nico,
Cabaret Voltaire,
Anthony Braxton,
Deutsch Amerikanische Freundschaft,
Crispy Ambulance,
Marc Almond,
Bluetip,
Funky Four + One,
Gang Gang Dance,
Donald Byrd,
Freddie Wadling,
Sam Rivers,
The Misunderstood,
Ten City,
Amon Düül II,
Minor Threat,
The Busters,
Maurizio,
Lebanon Hanover,
Sight & Sound,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.