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 Gambia and from Cairo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1973.
I'm losing my edge.
To all the kids in Delhi and Salvador.
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 808 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 Kurtis Blow to the grunge 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 Junior Murvin. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Kerrie Biddell,
Bill Wells,
Spandau Ballet,
Technova,
Visage,
Sun Ra,
MDC,
Q and Not U,
Lou Reed,
Zero Boys,
Soft Cell,
The Dirtbombs,
Kurtis Blow,
Throbbing Gristle,
Eric Dolphy,
The Invisible,
Alton Ellis,
Faraquet,
Interpol,
Country Joe & The Fish,
Lee Hazlewood,
The Seeds,
Skarface,
Terror Squad Feat. Camron,
Sandy B,
Joey Negro,
Kool Moe Dee,
Ludus,
Essential Logic,
Lucky Dragons,
Tres Demented,
Magazine,
Ken Boothe,
Gang Green,
Roxette,
Siglo XX,
The Velvet Underground,
Crooked Eye,
Bad Manners,
Scratch Acid,
The Sound,
Joyce Sims,
The Count Five,
Amon Düül,
Siouxsie and the Banshees,
The Tremeloes,
Flash Fearless,
Masters at Work,
The Buckinghams,
Camberwell Now,
Donny Hathaway,
The Gladiators,
Erasure,
Grauzone,
A Certain Ratio,
The Skatalites,
The Black Dice,
Fluxion,
Aaron Thompson,
F. McDonald,
The Victims,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.