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 Luxembourg and from Accra.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Hong Kong 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 chamberlin 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 The Remains to the grime 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 The Victims. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Kango’s Stein Massive,
The Zeros,
Anakelly,
Cameo,
Pere Ubu,
The Sonics,
Neil Young & Crazy Horse,
John Lydon,
Lyres,
Colin Newman,
Roy Ayers Ubiquity,
the Fania All-Stars,
Pete Rock & C.L. Smooth,
Avey Tare & Kría Brekkan,
Panda Bear,
Marcia Griffiths,
Grey Daturas,
Theoretical Girls,
The Misunderstood,
De La Soul & Jungle Brothers,
Alphaville,
A Certain Ratio,
The Barracudas,
Lalann,
Black Flag,
Lightning Bolt,
Circle Jerks,
Bizarre Inc.,
Icehouse,
Camron Feat. Memphis Bleek And Beenie Seigel,
Liaisons Dangereuses,
Archie Shepp,
Gong,
Tres Demented,
Barclay James Harvest,
Siouxsie and the Banshees,
Wally Richardson,
Kool G Rap & DJ Polo,
The Fugs,
Harry Pussy,
Roxy Music,
Motorama,
Deakin,
The Doobie Brothers,
Don Cherry,
Wighnomy Brothers & Robag Wruhme,
The Royal Family And The Poor,
Aural Exciters,
Lafayette Afro Rock Band,
The Trojans,
Erasure,
Sly & The Family Stone,
Nik Kershaw,
The Toasters,
The Detroit Cobras,
The Smoke,
Harmonia, Harmonia, Harmonia, Harmonia.
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.