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 Slovenia and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Bologna and Sao Paulo.
I'm losing my edge to the art-school Paris 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 chamberlin 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 Janne Schatter to the grunge kids.
I played it at the Crocodile.
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 Star Department. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Henry Cow 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Henry Cow,
The Electric Prunes,
Red Lorry Yellow Lorry,
Little Man,
Peter & Gordon,
Loose Ends,
Infiniti,
The Dave Clark Five,
Lee Hazlewood,
The J.B.'s,
Funkadelic,
Dawn Penn,
Sex Pistols,
The Smoke,
Piero Umiliani,
Monks,
David McCallum,
Sonny Sharrock,
Jeff Mills,
Manfred Mann's Earth Band,
Joe Finger,
FM Einheit,
X-101,
8 Eyed Spy,
Jesper Dahlbäck,
Rites of Spring,
Matthew Bourne,
Kevin Saunderson,
Swell Maps,
Rapeman,
Siglo XX,
Erykah Badu,
Yazoo,
Crispy Ambulance,
Bush Tetras,
Major Organ And The Adding Machine,
Heaven 17,
Inner City,
New Order,
Oppenheimer Analysis,
Josef K,
Bill Near,
Ultimate Spinach,
Heavy D & The Boyz,
Pagans,
Joe Smooth,
Cybotron,
DJ Style,
Lou Reed & John Cale,
Robert Wyatt,
The Dirtbombs,
The Skatalites,
Echo & the Bunnymen,
the Germs,
Marvin Gaye,
Eric B and Rakim,
Boredoms,
Massinfluence,
Subhumans,
Terrestrial Tones,
Eyeless In Gaza,
Scrapy, Scrapy, Scrapy, Scrapy.
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.