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 Venezuela and from Halifax.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Manchester 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 chamberlin 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 Anthony Braxton to the funk 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 Lou Reed & Metallica. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Lynne record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Motorama,
Tim Buckley,
Public Enemy,
The Fuzztones,
Red Lorry Yellow Lorry,
Derrick Morgan,
Althea and Donna,
X-101,
Peter and Kerry,
Notorious BIG live in Amsterdam,
Vainqueur,
The Mighty Diamonds,
Wasted Youth,
T.S.O.L.,
Simply Red,
Altered Images,
Pharoah Sanders,
UT,
Heavy D & The Boyz,
Terrestrial Tones,
Lee Hazlewood,
Sun Ra Arkestra,
Pole,
Tommy Roe,
Pet Shop Boys,
Arcadia,
Brass Construction,
The Men They Couldn't Hang,
Skaos,
Black Flag,
LL Cool J,
The Cowsills,
Dennis Brown,
Jeru the Damaja,
Zapp,
Godley & Creme,
Crime,
Kas Product,
Roy Ayers,
June of 44,
kango's stein massive,
Sunsets and Hearts,
Aloha Tigers,
Brick,
Warren Ellis,
Massinfluence,
Crispian St. Peters,
Grandmaster Flash and the Furious Five,
Radiohead,
The Selecter,
Radio Birdman,
The Toasters,
Vaughan Mason & Crew,
Ludus,
Swans,
The New Christs,
The Barracudas,
Rites of Spring,
The Velvet Underground,
Television,
Cluster, Cluster, Cluster, Cluster.
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.