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 Montenegro and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lyon and Bremen.
I'm losing my edge to the art-school Houston 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 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 Barclay James Harvest to the crunk kids.
I played it at CBGB's.
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 Dawn Penn. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
The Trojans,
Can,
Roger Hodgson,
Mark Hollis,
Bush Tetras,
Lungfish,
Zapp,
Gastr Del Sol,
The Black Dice,
Subhumans,
The Zeros,
Kango’s Stein Massive,
Jacques Brel,
Youth Brigade,
Deutsch Amerikanische Freundschaft,
Jeru the Damaja,
Eyeless In Gaza,
Sun City Girls,
Grey Daturas,
Television,
Duran Duran,
Hashim,
Josef K,
Sister Nancy,
The Jesus and Mary Chain,
Alison Limerick,
The Sound,
Jeff Lynne,
Marc Romboy vs. Booka Shade,
The Dead C,
Eli Mardock,
Fugazi,
Average White Band,
Glenn Branca,
Pantytec,
Shuggie Otis,
Blancmange,
Nick Cave & The Bad Seeds,
Orchestral Manoeuvres in the Dark,
The Index,
Rahsaan Roland Kirk,
Pierre Henry,
Trumans Water,
The J.B.'s,
Intrusion,
Beasts of Bourbon,
Lou Reed & John Cale,
Jimmy McGriff,
Sam Rivers,
Scion,
Model 500,
Yazoo,
Lou Reed,
Gil Scott Heron,
Steve Hackett,
Con Funk Shun,
Mars,
DeepChord presents Echospace,
Bill Wells,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.