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 Algeria and from Sao Paulo.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Seoul and Sao Paulo.
I'm losing my edge to the art-school Madrid 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 808 sounds with much patience.
I was there when Nile Rodgers 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 One Last Wish to the disco kids.
I played it at CBGB's.
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 Country Joe & The Fish. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
The Black Dice,
Piero Umiliani,
Super Lover Cee & Casanova Rud,
These Immortal Souls,
Bad Manners,
Radiohead,
The Sound,
Slave,
Talk Talk,
Byron Stingily,
Sandy B,
Young Marble Giants,
Morten Harket,
The Dirtbombs,
Porter Ricks,
Lucky Dragons,
The Slackers,
Lalann,
Röyhkä ja Rättö ja Lehtisalo,
Throbbing Gristle,
A Certain Ratio,
X-102,
Ludus,
The Martian,
H. Thieme,
10cc,
Mary Jane Girls,
The Fire Engines,
Metal Thangz,
Siouxsie and the Banshees,
The Seeds,
The Red Krayola,
Lonnie Liston Smith,
Magazine,
The Pop Group,
Adolescents,
Sight & Sound,
Sexual Harrassment,
Bootsy Collins,
Stockholm Monsters,
Popol Vuh,
Youth Brigade,
Art Ensemble Of Chicago,
Ralphi Rosario,
Groovy Waters,
Avey Tare's Slasher Flicks,
Jacques Brel,
June of 44,
The Five Americans,
Michelle Simonal,
Lower 48,
Main Source,
Mantronix,
Sister Nancy,
Wolf Eyes,
Ash Ra Tempel,
Fluxion,
Pharaoh Sanders and the Fire Engines,
Heavy D & The Boyz,
The Misunderstood,
Average White Band,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.