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 Samoa and from Taipei.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Tehran 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Unrelated Segments to the dance kids.
I played it at the Troubador.
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 Michelle Simonal. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Alison Limerick 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 '90s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Teenage Jesus and the Jerks,
Lou Christie,
Oblivians,
Andrew Ashong & Theo Parrish,
Symarip,
Massinfluence,
Talk Talk,
Jeff Mills,
Simply Red,
Liliput,
Gil Scott-Heron & Brian Jackson,
Jacob Miller,
The American Breed,
Tears for Fears,
Eurythmics,
Angry Samoans,
Eric Dolphy,
Agitation Free,
Electric Prunes,
Buzzcocks,
Television Personalities,
Malaria!,
Robert Görl,
Ash Ra Tempel,
The Men They Couldn't Hang,
Visionaries,LMNO, T- Love & Iriscience,
Eve St. Jones,
a-ha,
Monks,
Organ,
Alphaville,
Yusef Lateef,
Rosa Yemen,
Erasure,
Carl Craig,
Jawbox,
Aural Exciters,
Sällskapet,
Trumans Water,
Liaisons Dangereuses,
Theoretical Girls,
Janne Schatter,
Thee Headcoats,
Rhythm & Sound,
The Leaves,
Alison Limerick,
Ultimate Spinach,
Little Man,
Be Bop Deluxe,
The Last Poets,
Con Funk Shun,
Röyhkä ja Rättö ja Lehtisalo,
Wire,
Mandrill,
Manfred Mann's Earth Band,
Youth Brigade,
Blossom Toes,
EPMD,
Sound Behaviour,
CMW,
Wighnomy Brothers & Robag Wruhme,
Rowland S Howard / Lydia Lunch,
John Foxx, John Foxx, John Foxx, John Foxx.
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.