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 Palau and from Lagos.
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 1975.
I'm losing my edge.
To all the kids in Cairo and Seoul.
I'm losing my edge to the art-school Salvador 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar 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 Ronnie Foster to the rap 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 Lizzy Mercier Descloux. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Talk Talk 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Thinking Fellers Union Local 282 record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Junior Murvin,
The Doors,
Easy Going,
Black Pus,
Pierre Henry,
June Days,
The Cowsills,
Soft Machine,
The Trojans,
Pet Shop Boys,
Magma,
Thee Headcoats,
DJ Style,
The Mighty Diamonds,
Bang on a Can All-Stars,
Rhythm & Sound,
Marc Romboy vs. Booka Shade,
Model 500,
Graham Central Station,
The Skatalites,
Radio Birdman,
Rufus Thomas,
Bizarre Inc.,
Moby Grape,
Faraquet,
Nas,
OOIOO,
Quantec,
Nation of Ulysses,
Joensuu 1685,
Thinking Fellers Union Local 282,
Cabaret Voltaire,
The Barracudas,
Ohio Players,
The Mummies,
The Sonics,
Heaven 17,
Pole,
Andrew Hill,
Albert Ayler,
Dawn Penn,
Ronan,
Harmonia,
The Victims,
PIL,
The Gun Club,
The Evens,
One Last Wish,
The American Breed,
Angels of Light & Akron/Family,
Notorious BIG live in Amsterdam,
Boogie Down Productions,
Masters at Work,
Amon Düül II,
Glambeats Corp.,
Dorothy Ashby,
Babytalk,
The Knickerbockers,
Ultra Naté,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.