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 Israel and from Paris.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Edmonton 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 arpeggiator 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 Leonard Cohen to the jazz kids.
I played it at Trash.
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 Albert Ayler. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Joy Division record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
Joyce Sims,
Max Romeo,
Blossom Toes,
Eyeless In Gaza,
Sound Behaviour,
Absolute Body Control,
Moby Grape,
China Crisis,
Terrestrial Tones,
Jimmy McGriff,
Fat Boys,
Larry & the Blue Notes,
Dawn Penn,
Deakin,
Tres Demented,
Liaisons Dangereuses,
The Martian,
De La Soul & Jungle Brothers,
Marshall Jefferson,
Fluxion,
Zero Boys,
Aaron Thompson,
Robert Hood,
Tommy Roe,
Spoonie Gee,
Bobby Sherman,
Mark Hollis,
Sun Ra,
Chrome,
The Names,
Television,
Red Lorry Yellow Lorry,
Louis and Bebe Barron,
Terry Callier,
Nick Fraelich,
Arthur Verocai,
Dr. Dre and Snoop Doggy Dog,
Wings,
Depeche Mode,
Gabor Szabo,
Notorious Big And Bone Thugs,
Wally Richardson,
Peter and Kerry,
Howard Jones,
The Selecter,
Section 25,
R.M.O.,
Sam Rivers,
Godley & Creme,
Spandau Ballet,
DJ Sneak,
Barry Ungar,
Donald Byrd,
Deadbeat,
Andrew Ashong & Theo Parrish,
Angels of Light & Akron/Family,
Gil Scott-Heron & Brian Jackson,
KRS-One,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.