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 Philadelphia.
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 Copenhagen and Paris.
I'm losing my edge to the art-school Houston 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Matthew Halsall to the rap kids.
I played it at Cafe Wha.
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 Sound. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your rhodes and bought an organ.
I hear that you and your band have sold your organ and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
Arthur Verocai,
Matthew Bourne,
Maurizio,
Symarip,
Minutemen,
Notorious Big And Bone Thugs,
Deadbeat,
Jacob Miller,
Chris Corsano,
Bronski Beat,
Davy DMX,
Susan Cadogan,
Q and Not U,
Stiv Bators,
X-101,
B.T. Express,
The Star Department,
Peter and Kerry,
Teenage Jesus and the Jerks,
These Immortal Souls,
The Monks,
Yellowson,
Can,
Grandmaster Flash and the Furious Five,
The Divine Comedy,
Kauko Röyhkä ja Narttu,
Man Eating Sloth,
T.S.O.L.,
Gil Scott-Heron & Brian Jackson,
Ludus,
Tom Boy,
Young Marble Giants,
Amazonics,
The Music Machine,
Amon Düül II,
DJ Sneak,
Quantec,
The Birthday Party,
The Mojo Men,
Barbara Tucker,
Surgeon,
Peter Gordon & Love of Life Orchestra,
Main Source,
Fugazi,
Bluetip,
Con Funk Shun,
Gil Scott-Heron and Jamie xx,
K-Klass,
Eric Copeland,
The Durutti Column,
The Tremeloes,
H. Thieme,
U.S. Maple,
Barrington Levy,
Soft Machine,
Stetsasonic,
The Alarm Clocks,
Mary Jane Girls,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.