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 Bhutan and from Taipei.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the organ 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 Can to the electroclash 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 The Martian. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal rock 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
The Index,
The Moleskins,
The Last Poets,
Tears for Fears,
Adolescents,
Terrestrial Tones,
Index,
Fluxion,
Goldenarms,
Henry Cow,
Echo & the Bunnymen,
Gichy Dan,
David Bowie,
Rapeman,
Sound Behaviour,
Glenn Branca,
The Vogues,
Deutsch Amerikanische Freundschaft,
Qualms,
Blancmange,
Saccharine Trust,
Cheater Slicks,
Kevin Saunderson,
Terry Callier,
Sparks,
Soft Cell,
Heaven 17,
Pagans,
Sun Ra,
Eli Mardock,
Maurizio,
Bobby Sherman,
The Victims,
Oppenheimer Analysis,
Soul Sonic Force,
Nation of Ulysses,
Dawn Penn,
The Remains,
Vladislav Delay,
Country Joe & The Fish,
Von Mondo,
Black Sheep,
Eric B and Rakim,
Visionaries,LMNO, T- Love & Iriscience,
Erasure,
The Electric Prunes,
Maleditus Sound,
The Modern Lovers,
Marshall Jefferson,
Lou Reed & John Cale,
Bobby Hutcherson,
Basic Channel,
Jeff Mills,
Be Bop Deluxe,
Tubeway Army,
Skaos,
Kauko Röyhkä ja Narttu,
Chris Corsano,
Cecil Taylor,
Yusef Lateef,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.