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 Columbus.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Beijing and Glasgow.
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 theremin sounds with much patience.
I was there when Donald Fagen 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 The Selecter 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 Joensuu 1685. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Radio Birdman 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Monks 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?
Roy Ayers Ubiquity,
Matthew Halsall,
Don Cherry,
Blancmange,
Ornette Coleman,
Pharoah Sanders,
Skriet,
Hot Snakes,
DJ Sneak,
Slick Rick,
Avey Tare's Slasher Flicks,
Unwound,
Jeff Mills,
Kevin Saunderson,
Bad Manners,
Zero Boys,
Major Organ And The Adding Machine,
Tomorrow,
Roxette,
Flamin' Groovies,
Camron Feat. Jay Z And Juelz,
Mantronix,
Fad Gadget,
Erasure,
The Music Machine,
AZ,
Saccharine Trust,
Malaria!,
Procol Harum,
Essential Logic,
Eurythmics,
The Mojo Men,
Organ,
Funky Four + One,
Strawberry Alarm Clock,
Roger Hodgson,
Monolake,
Pantaleimon,
Section 25,
the Sonics,
Alison Limerick,
The Shadows of Knight,
Massinfluence,
Sad Lovers and Giants,
Brass Construction,
Banda Bassotti,
Kool G Rap & DJ Polo,
Quando Quango,
Gang Green,
The Victims,
Oneida,
Boz Scaggs,
Traffic Nightmare,
the Fania All-Stars,
Roy Ayers,
Minor Threat,
Eric Copeland,
Harpers Bizarre,
Red Lorry Yellow Lorry,
The Fire Engines,
the Soft Cell,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.