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 Dominica and from Glasgow.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1972.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school New York 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 rhodes 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 Sticky Fingaz feat. Raekwon to the dance 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 Skaos. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Cabaret Voltaire,
Davy DMX,
Alice Coltrane,
Subhumans,
Eve St. Jones,
The Golliwogs,
Sällskapet,
Gil Scott-Heron & Brian Jackson,
The Selecter,
David Axelrod,
Al Stewart,
Vladislav Delay,
Cluster,
PIL,
Patti Smith,
JFA,
Stereo Dub,
Trumans Water,
Basic Channel,
Rufus Thomas,
Au Pairs,
T.S.O.L.,
Yellowson,
Mad Mike,
Avey Tare,
Orchestral Manoeuvres in the Dark,
CMW,
48th St. Collective,
Beasts of Bourbon,
Pulsallama,
Make Up,
Magazine,
The Pop Group,
Crash Course in Science,
Young Marble Giants,
Jimmy McGriff,
London Community Gospel Choir,
Pere Ubu,
Jeru the Damaja,
Adolescents,
T. Rex,
Nirvana,
Heaven 17,
Grandmaster Flash,
Johnny Osbourne,
Kings Of Tomorrow,
Junior Murvin,
Sugar Minott,
Thee Headcoats,
Anthony Braxton,
Motorama,
The Seeds,
The Stooges,
Jerry Gold Smith,
Alison Limerick,
Cecil Taylor,
Prince Buster,
Boogie Down Productions,
The Saints, The Saints, The Saints, The Saints.
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.