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 Thailand and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Halifax and Tehran.
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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 American Breed to the electroclash 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 Aswad. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Groovy Waters 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Bang On A Can,
Icehouse,
the Swans,
Stiv Bators,
Aural Exciters,
Ludus,
The Raincoats,
New Order,
The Residents,
Donald Byrd,
Notorious BIG live in Amsterdam,
Fat Boys,
Joy Division,
Radio Birdman,
Traffic Nightmare,
Lou Reed & Metallica,
The Neon Judgement,
Japan,
Vaughan Mason & Crew,
Pharaoh Sanders and the Fire Engines,
Ornette Coleman,
Q and Not U,
Janne Schatter,
The Blues Magoos,
June Days,
Lalo Schifrin,
The Litter,
Marc Almond,
Johnny Osbourne,
Ken Boothe,
Röyhkä ja Rättö ja Lehtisalo,
Barrington Levy,
Brothers Johnson,
Man Parrish,
Bronski Beat,
Nation of Ulysses,
Siouxsie and the Banshees,
Whodini,
the Germs,
Von Mondo,
Morten Harket,
Rotary Connection,
Donny Hathaway,
Theoretical Girls,
Thee Headcoats,
Tears for Fears,
Hashim,
Lucky Dragons,
The Index,
Junior Murvin,
Bobbi Humphrey,
Blancmange,
Delon & Dalcan,
Magma,
Avey Tare,
Bob Dylan,
The Young Rascals,
Graham Central Station,
Wally Richardson,
Gang Starr,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.