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 India and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
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 mellotron 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 Popol Vuh to the rock kids.
I played it at the Troubador.
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 Pantaleimon. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Visage,
Amon Düül II,
Richard Hell and the Voidoids,
Harpers Bizarre,
the Soft Cell,
Bronski Beat,
Peter & Gordon,
Desert Stars,
Joe Smooth,
The Dead C,
LL Cool J,
Au Pairs,
Technova,
Notorious Big And Bone Thugs,
Dead Boys,
The Litter,
Glambeats Corp.,
A Flock of Seagulls,
Howard Jones,
John Lydon,
These Immortal Souls,
Wire,
Colin Newman,
Eve St. Jones,
Anthony Braxton,
The Misunderstood,
Mad Mike,
The Vogues,
The United States of America,
Gabor Szabo,
Spandau Ballet,
Main Source,
Dennis Brown,
Panda Bear,
The Fugs,
Soft Cell,
Sarah Menescal,
K-Klass,
Marvin Gaye,
The Searchers,
Joy Division,
Manfred Mann's Earth Band,
Marine Girls,
Theoretical Girls,
Banda Bassotti,
Peter Gordon & Love of Life Orchestra,
Sexual Harrassment,
FM Einheit,
De La Soul & Jungle Brothers,
Alton Ellis,
Sparks,
Deadbeat,
Roy Ayers,
The Busters,
Thinking Fellers Union Local 282,
The Royal Family And The Poor,
The Monochrome Set,
Be Bop Deluxe,
Siglo XX,
Albert Ayler,
Morten Harket,
Neil Young & Crazy Horse,
The Residents, The Residents, The Residents, The Residents.
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.