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 Singapore and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school Calgary 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Jimmy McGriff to the jazz kids.
I played it at Trash.
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 Notorious Big And Bone Thugs. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Interpol,
Dark Day,
Nils Olav,
The Peanut Butter Conspiracy,
Jandek,
Nas,
Groovy Waters,
Pole,
Rapeman,
Bluetip,
X-101,
Morten Harket,
Gil Scott-Heron and Jamie xx,
Captain Beefheart & His Magic Band,
Pharaoh Sanders and the Fire Engines,
Pylon,
John Holt,
Crime,
Roy Ayers,
Harpers Bizarre,
Ronan,
The Monks,
Y Pants,
Swell Maps,
Avey Tare's Slasher Flicks,
Lonnie Liston Smith,
Sex Pistols,
The Martian,
Ken Boothe,
Vladislav Delay,
Gil Scott-Heron & Brian Jackson,
Ronnie Foster,
Nico,
This Heat,
Hasil Adkins,
Grandmaster Flash,
Gerry Rafferty,
John Foxx,
The Motions,
Franke,
Lou Christie,
Quando Quango,
The Busters,
Freddie Wadling,
Massinfluence,
Avey Tare,
Intrusion,
Michelle Simonal,
The J.B.'s,
Ten City,
Camouflage,
Lalo Schifrin,
Rekid,
Gang Gang Dance,
Jerry's Kids,
Marine Girls,
Lungfish,
Matthew Halsall,
Trumans Water,
Guru Guru,
Lakeside,
The Real Kids,
New York Dolls,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.