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 El Salvador and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1971.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Woodstock 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 Michael McDonald 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 Pharaoh Sanders and the Fire Engines to the techno kids.
I played it at the Roxy.
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 Names. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Art Ensemble Of Chicago,
Fatback Band,
Rites of Spring,
Bang On A Can,
Sonny Sharrock,
Strawberry Alarm Clock,
Half Japanese,
Gang of Four,
Matthew Bourne,
Connie Case,
Sonic Youth,
ABBA,
Prince Buster,
New Order,
Jesper Dahlbäck,
Soul Sonic Force,
Suburban Knight,
Maleditus Sound,
PIL,
The Red Krayola,
CMW,
Arcadia,
Scrapy,
Dave Gahan,
Basic Channel,
Tom Boy,
MC5,
The Mighty Diamonds,
Lightning Bolt,
Morten Harket,
Susan Cadogan,
Cecil Taylor,
Boogie Down Productions,
Louis and Bebe Barron,
Delon & Dalcan,
Throbbing Gristle,
Audionom,
Ultimate Spinach,
Minutemen,
Procol Harum,
Lonnie Liston Smith,
Al Stewart,
Deepchord,
Electric Prunes,
Matthew Halsall,
Crooked Eye,
Country Joe & The Fish,
Eddi Front,
Monolake,
The United States of America,
the Slits,
Bobby Byrd,
Magazine,
Grandmaster Flash and the Furious Five,
Jeff Mills,
Section 25,
The Dirtbombs,
Radiohead,
Amon Düül II,
The Real Kids,
Godley & Creme,
JFA,
Nirvana,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.