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 Gambia and from Columbus.
But I was there.
I was there in 1973.
I was there at the first Television 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 1967 to 1978.
I'm losing my edge.
To all the kids in Calgary and Manchester.
I'm losing my edge to the art-school Copenhagen 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 Robert Palmer 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 Monks to the jazz 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 Rekid. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every The Shadows of Knight 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
48th St. Collective,
Laurel Aitken,
The Fortunes,
Parry Music,
Throbbing Gristle,
John Lydon,
Neu!,
E-Dancer,
Marvin Gaye,
T.S.O.L.,
Urselle,
Deadbeat,
Camberwell Now,
Nick Fraelich,
Magma,
Mary Jane Girls,
Banda Bassotti,
Japan,
The Sonics,
Lalo Schifrin,
the Soft Cell,
FM Einheit,
Swans,
Zapp,
Mandrill,
Rod Modell,
Sun City Girls,
Country Joe & The Fish,
Peter & Gordon,
Roy Ayers Ubiquity,
Harry Pussy,
cv313,
The Pop Group,
Underground Resistance,
Thee Headcoats,
Vladislav Delay,
DeepChord presents Echospace,
The Moleskins,
James Chance & The Contortions,
Oppenheimer Analysis,
Jeff Lynne,
Monks,
Saccharine Trust,
The Remains,
Bobby Byrd,
Pierre Henry,
Black Sheep,
Wolf Eyes,
Yazoo,
Crispian St. Peters,
A Flock of Seagulls,
Ultra Naté,
Pete Rock & C.L. Smooth,
The Gun Club,
Sällskapet,
Barclay James Harvest,
Rakim,
The Blackbyrds,
Echo & the Bunnymen,
Mo-Dettes,
Chris Corsano,
Agent Orange,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.