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 Dominican Republic and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Lagos.
I'm losing my edge to the art-school Cairo 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Malaria! to the grime kids.
I played it at Cafe Wha.
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 Rekid. All the underground hits.
All The Names tracks. I heard you have a vinyl of every T. Rex 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Maleditus Sound,
Kool G Rap & DJ Polo,
Bobby Sherman,
Henry Cow,
Rapeman,
T.S.O.L.,
the Swans,
Leonard Cohen,
ABBA,
Eric B and Rakim,
Scott Walker,
Lee Hazlewood,
The Detroit Cobras,
Jesper Dahlback,
Make Up,
The J.B.'s,
Audionom,
Second Layer,
Country Joe & The Fish,
Aswad,
Sugar Minott,
KRS-One,
Quando Quango,
Brothers Johnson,
R.M.O.,
Barbara Tucker,
Liaisons Dangereuses,
John Cale,
Lakeside,
Justin Hinds & The Dominoes,
Model 500,
Soft Cell,
London Community Gospel Choir,
E-Dancer,
Bluetip,
Gregory Isaacs,
Jerry Gold Smith,
Alphaville,
Nation of Ulysses,
Brass Construction,
It's A Beautiful Day,
Underground Resistance,
Eric Copeland,
Avey Tare,
Gabor Szabo,
Rhythim Is Rhythim,
Moebius,
The Searchers,
Parry Music,
Blossom Toes,
Kenny Larkin,
John Coltrane,
the Normal,
Nico,
Richard Hell and the Voidoids,
Metal Thangz,
Robert Wyatt,
Kauko Röyhkä ja Narttu,
Rotary Connection,
Delon & Dalcan,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.