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 Argentina and from Mumbai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1977.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Tokyo 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 snare 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 James White and The Blacks to the jazz 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 New York Dolls. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Jerry's Kids record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Scrapy,
Jacob Miller,
Nils Olav,
Yaz,
Cabaret Voltaire,
The Pretty Things,
The Martian,
Oppenheimer Analysis,
Janne Schatter,
KRS-One,
Drive Like Jehu,
Don Cherry,
Archie Shepp,
Icehouse,
The Selecter,
Moby Grape,
Stereo Dub,
Stetsasonic,
Faust,
Camron Feat. Jay Z And Juelz,
Electric Prunes,
Kango’s Stein Massive,
Jawbox,
Symarip,
Y Pants,
Japan,
Au Pairs,
Roxy Music,
Marshall Jefferson,
A Certain Ratio,
Thompson Twins,
Dark Day,
The Fuzztones,
Heavy D & The Boyz,
Maurizio,
Flash Fearless,
Matthew Halsall,
Black Flag,
Spandau Ballet,
Model 500,
Tim Buckley,
The Smoke,
Gregory Isaacs,
Pole,
Thee Headcoats,
Derrick Morgan,
The Divine Comedy,
Trumans Water,
One Last Wish,
Panda Bear,
James White and The Blacks,
Toni Rubio,
Laurel Aitken,
Gang of Four,
Inner City,
MC5,
This Heat,
Larry & the Blue Notes,
the Bar-Kays,
Lindisfarne,
The Skatalites,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.