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 Nigeria and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Spokane.
I'm losing my edge to the art-school Tehran 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 organ sounds with much patience.
I was there when David Bowie 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 Sandy B to the punk kids.
I played it at the 40 Watt.
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 Hardrive. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Lonnie Liston Smith,
Pet Shop Boys,
Maleditus Sound,
The Music Machine,
Public Image Ltd.,
Slick Rick,
Godley & Creme,
Depeche Mode,
Rowland S Howard / Lydia Lunch,
Electric Light Orchestra,
Section 25,
Letta Mbulu,
Scott Walker + Sunn O))),
Rekid,
The Offenders,
Brand Nubian,
Boredoms,
Jerry Gold Smith,
Gabor Szabo,
The Wake,
Organ,
Scratch Acid,
Arthur Verocai,
Bill Near,
Dorothy Ashby,
Camberwell Now,
Kayak,
Alton Ellis,
The Fire Engines,
Curtis Mayfield,
Gil Scott-Heron and Jamie xx,
Carl Craig,
The Star Department,
Eli Mardock,
Clear Light,
Juan Atkins,
Jawbox,
Freddie Wadling,
The Gories,
Jerry's Kids,
the Germs,
Leonard Cohen,
Janne Schatter,
Derrick May,
Country Teasers,
Cameo,
Tom Boy,
Scan 7,
A Flock of Seagulls,
The Stooges,
The Fortunes,
Funkadelic,
Junior Murvin,
The Slackers,
The Associates,
Notorious Big And Bone Thugs,
The Men They Couldn't Hang,
Oneida,
Agent Orange,
Bobby Hutcherson,
Crispy Ambulance,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.