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 Kenya and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1979.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school Madrid 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 oboe 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 Jesper Dahlbäck to the techno kids.
I played it at the Astoria.
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 Arab on Radar. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Sun Ra 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Tim Buckley,
Fat Boys,
Symarip,
Oblivians,
Spandau Ballet,
Japan,
Scott Walker,
The Last Poets,
Marmalade,
Porter Ricks,
Deutsch Amerikanische Freundschaft,
The Dirtbombs,
Half Japanese,
Ornette Coleman,
Massinfluence,
Guru Guru,
the Soft Cell,
Motorama,
MC5,
Blancmange,
Lalo Schifrin,
Eve St. Jones,
The Tremeloes,
Simply Red,
The Fugs,
Rahsaan Roland Kirk,
Anakelly,
Camberwell Now,
Leonard Cohen,
Stetsasonic,
Angry Samoans,
The Gap Band,
Slave,
Pantytec,
Bob Dylan,
Bootsy's Rubber Band,
The Misunderstood,
Sly & The Family Stone,
Section 25,
UT,
Camron Feat. Memphis Bleek And Beenie Seigel,
David Axelrod,
Absolute Body Control,
X-Ray Spex,
Echospace,
Depeche Mode,
Sex Pistols,
Sällskapet,
Unwound,
Arthur Verocai,
Liaisons Dangereuses,
Derrick Morgan,
Unrelated Segments,
Audionom,
Hasil Adkins,
Maleditus Sound,
Bobbi Humphrey,
Janne Schatter,
Josef K,
Agent Orange,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.