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 Uzbekistan and from Accra.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Seoul and Delhi.
I'm losing my edge to the art-school Johannesburg 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Ken Boothe to the disco 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 Barbara Tucker. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Drive Like Jehu 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Joey Negro,
Infiniti,
Funky Four + One,
Jacques Brel,
The Shadows of Knight,
Strawberry Alarm Clock,
L. Decosne,
Kool Moe Dee,
Sonny Sharrock,
Barry Ungar,
Art Ensemble Of Chicago,
World's Most,
the Association,
David McCallum,
Jeru the Damaja,
Shuggie Otis,
Flash Fearless,
Youth Brigade,
Pierre Henry,
The Residents,
Von Mondo,
Yazoo,
Terry Callier,
The Toasters,
Oblivians,
48th St. Collective,
Rotary Connection,
Pagans,
Gil Scott Heron,
New Age Steppers,
Franke,
Scion,
Cabaret Voltaire,
Vainqueur,
Dark Day,
Smog,
The Seeds,
Eyeless In Gaza,
Graham Central Station,
Cecil Taylor,
Kerri Chandler,
Marc Almond,
The Mighty Diamonds,
Bill Wells,
Deutsch Amerikanische Freundschaft,
a-ha,
Swell Maps,
Bang on a Can All-Stars,
AZ,
Marmalade,
Fear,
Oneida,
The Monochrome Set,
Gichy Dan,
Ultravox,
Bobby Hutcherson,
Basic Channel,
Kool G Rap & DJ Polo,
the Slits,
Marvin Gaye,
Lou Christie,
Red Lorry Yellow Lorry,
Niagra, Niagra, Niagra, Niagra.
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.