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 Korea South and from Madrid.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and London.
I'm losing my edge to the art-school Taipei 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 David Bowie 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 James White and The Blacks to the jazz kids.
I played it at the Hacienda.
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 Maleditus Sound. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Ohio Players,
Joyce Sims,
John Coltrane,
Scott Walker,
Johnny Osbourne,
The Cowsills,
Be Bop Deluxe,
The Mighty Diamonds,
Godley & Creme,
Wally Richardson,
Grandmaster Flash,
The Raincoats,
Gian Franco Pienzio,
Parry Music,
Khruangbin,
Animal Collective,
The Cure,
Hoover,
the Human League,
Alice Coltrane,
Amon Düül II,
Cameo,
Scott Walker + Sunn O))),
Schoolly D,
Wire,
Drexciya,
Roy Ayers,
Massinfluence,
Fear,
Franke,
Vainqueur,
Little Man,
Manfred Mann's Earth Band,
Matthew Bourne,
Organ,
Gastr Del Sol,
Cheater Slicks,
The Dead C,
Rites of Spring,
Quadrant,
Thee Headcoats,
Circle Jerks,
World's Most,
The Men They Couldn't Hang,
Brass Construction,
Bizarre Inc.,
The Misunderstood,
Dawn Penn,
Eric Dolphy,
Eyeless In Gaza,
Nick Fraelich,
Richard Hell and the Voidoids,
Pharaoh Sanders and the Fire Engines,
Subhumans,
Dual Sessions,
Neu!,
Röyhkä ja Rättö ja Lehtisalo,
The Angels of Light,
Sad Lovers and Giants,
Ronan, Ronan, Ronan, Ronan.
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.