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 Brazil and from Paris.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1970.
I'm losing my edge.
To all the kids in Spokane and Houston.
I'm losing my edge to the art-school Milan 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 clarinet 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 Hoover 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 Sonny Sharrock. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Nation of Ulysses,
The Sisters of Mercy,
The Doors,
Art Ensemble Of Chicago,
a-ha,
The Smoke,
Slick Rick,
Kango’s Stein Massive,
Siglo XX,
The Last Poets,
EPMD,
Rekid,
Henry Cow,
Q65,
Aloha Tigers,
Shuggie Otis,
Pere Ubu,
Byron Stingily,
Avey Tare's Slasher Flicks,
Stockholm Monsters,
Royal Trux,
Deadbeat,
the Bar-Kays,
David McCallum,
The Real Kids,
PIL,
Janne Schatter,
Ultramagnetic MC's,
Mandrill,
Angry Samoans,
cv313,
Bobby Sherman,
Second Layer,
Sonny Sharrock,
Gil Scott Heron,
Scott Walker + Sunn O))),
Lou Christie,
Lalann,
Rapeman,
The Smiths,
Eric Dolphy,
Roger Hodgson,
Avey Tare,
Man Eating Sloth,
Delon & Dalcan,
UT,
Barbara Tucker,
Sugar Minott,
Bauhaus,
Kings Of Tomorrow,
Arab on Radar,
Aural Exciters,
Hoover,
The Sonics,
Guru Guru,
F. McDonald,
Dead Boys,
Eurythmics,
Public Enemy,
JFA,
The United States of America, The United States of America, The United States of America, The United States of America.
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.