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 Zimbabwe and from Madrid.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1974.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Columbus 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Reagan Youth to the electroclash kids.
I played it at the Roxy.
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 Barclay James Harvest. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Eve St. Jones 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 '80s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Matthew Bourne,
Manfred Mann's Earth Band,
Urselle,
Deepchord,
Sound Behaviour,
Popol Vuh,
Curtis Mayfield,
Bauhaus,
Max Romeo,
Monolake,
Gang of Four,
Nick Cave & The Bad Seeds,
Davy DMX,
Josef K,
Fluxion,
Ultramagnetic MC's,
Au Pairs,
Sun City Girls,
Royal Trux,
Stereo Dub,
Malaria!,
Slave,
Fatback Band,
Suburban Knight,
Kas Product,
Rowland S Howard / Lydia Lunch,
The Remains,
Bang on a Can All-Stars,
Zapp,
Unrelated Segments,
Gregory Isaacs,
Orchestral Manoeuvres in the Dark,
Mary Jane Girls,
Public Image Ltd.,
Khruangbin,
Alice Coltrane,
The Neon Judgement,
Lebanon Hanover,
DJ Sneak,
Wings,
Nas,
Black Pus,
Electric Light Orchestra,
Trumans Water,
Bob Dylan,
Hardrive,
Livin' Joy,
Supertramp,
Desert Stars,
Maurizio,
Charles Mingus,
Byron Stingily,
Cecil Taylor,
New Age Steppers,
The Red Krayola,
Sight & Sound,
Jacob Miller,
Oneida,
The Electric Prunes,
MC5,
Ten City,
Flipper, Flipper, Flipper, Flipper.
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.