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 Chile and from Manchester.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Delhi 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Birthday Party to the punk kids.
I played it at the Crocodile.
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 Martian. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Red Lorry Yellow Lorry,
Wire,
Public Enemy,
Buzzcocks,
Notorious BIG live in Amsterdam,
The Associates,
T. Rex,
Gichy Dan,
Nick Cave & The Bad Seeds,
Dorothy Ashby,
Half Japanese,
Smog,
Country Joe & The Fish,
The Slits,
The Pop Group,
Ralphi Rosario,
Ohio Players,
John Cale,
Man Eating Sloth,
Roy Ayers,
Lightning Bolt,
Mr. Review,
The Skatalites,
Barry Ungar,
Fatback Band,
La Düsseldorf,
Q65,
Althea and Donna,
The Men They Couldn't Hang,
Pussy Galore,
Sex Pistols,
the Slits,
Ituana,
Orchestral Manoeuvres in the Dark,
Teenage Jesus and the Jerks,
Robert Görl,
Alice Coltrane,
Eden Ahbez,
Jacob Miller,
Gian Franco Pienzio,
Bobbi Humphrey,
Johnny Clarke,
Brass Construction,
Icehouse,
The Five Americans,
Sugar Minott,
Parry Music,
Iggy Pop,
Section 25,
The Evens,
The Martian,
The Angels of Light,
The Names,
Ultra Naté,
Lizzy Mercier Descloux,
Kool Moe Dee,
Major Organ And The Adding Machine,
Mark Hollis,
Dave Gahan,
Echospace,
Jeru the Damaja,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.