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 Grenada and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Manila.
I'm losing my edge to the art-school Manchester 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 synthesizer 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 Juan Atkins 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 The Doors. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 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 oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
MDC,
Ludus,
Crispy Ambulance,
Anthony Braxton,
Panda Bear,
It's A Beautiful Day,
Popol Vuh,
Loose Ends,
Brass Construction,
Y Pants,
Quantec,
Jerry's Kids,
Eric Dolphy,
Motorama,
The Offenders,
World's Most,
Gil Scott-Heron & Brian Jackson,
Rakim,
The Residents,
Cabaret Voltaire,
Echospace,
Sound Behaviour,
Outsiders,
The Skatalites,
Avey Tare's Slasher Flicks,
Kurtis Blow,
Traffic Nightmare,
Fort Wilson Riot,
Faraquet,
The Victims,
Jacques Brel,
Anakelly,
The Jesus and Mary Chain,
Dual Sessions,
Cal Tjader,
Grey Daturas,
Charles Mingus,
JFA,
Orchestral Manoeuvres in the Dark,
Colin Newman,
Warren Ellis,
DeepChord presents Echospace,
Bronski Beat,
Blossom Toes,
EPMD,
Joensuu 1685,
Quadrant,
Bad Manners,
Minny Pops,
Avey Tare & Kría Brekkan,
Dorothy Ashby,
Moebius,
Johnny Clarke,
Lalann,
Simply Red,
Nico,
Absolute Body Control,
Kayak,
One Last Wish,
Soft Cell,
Barclay James Harvest,
The Count Five, The Count Five, The Count Five, The Count Five.
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.