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 Mali and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1979.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 mellotron 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 Andrew Hill to the techno kids.
I played it at the 40 Watt.
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 Louis and Bebe Barron. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Sight & Sound,
Electric Light Orchestra,
U.S. Maple,
Roy Ayers Ubiquity,
Davy DMX,
8 Eyed Spy,
Tubeway Army,
Main Source,
Depeche Mode,
Unrelated Segments,
Derrick May,
The Techniques,
Intrusion,
Manfred Mann's Earth Band,
Juan Atkins,
Mars,
Pulsallama,
The Gladiators,
MDC,
Model 500,
Major Organ And The Adding Machine,
Organ,
The Move,
Captain Beefheart & His Magic Band,
Neil Young & Crazy Horse,
Alice Coltrane,
James Chance & The Contortions,
Orchestral Manoeuvres in the Dark,
The Tremeloes,
The Cosmic Jokers,
X-101,
Rowland S Howard / Lydia Lunch,
The Associates,
Eddi Front,
The Five Americans,
Junior Murvin,
JFA,
Joyce Sims,
Sexual Harrassment,
Ultra Naté,
Joey Negro,
Marine Girls,
Gil Scott-Heron & Brian Jackson,
Y Pants,
Schoolly D,
Kaleidoscope,
Animal Collective,
June Days,
Moby Grape,
Altered Images,
Max Romeo,
Scientists,
James White and The Blacks,
Slick Rick,
The Golliwogs,
Popol Vuh,
ABBA,
Fatback Band,
Delta 5,
R.M.O.,
Goldenarms,
D'Angelo,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.