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 Austria and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1967 to 1976.
I'm losing my edge.
To all the kids in Milan and Lagos.
I'm losing my edge to the art-school Spokane 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 rhodes 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 rap kids.
I played it at the Spitz.
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 Royal Trux. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Eyeless In Gaza,
a-ha,
Robert Wyatt,
June Days,
Bob Dylan,
Crispian St. Peters,
Kas Product,
Nation of Ulysses,
Jesper Dahlback,
Chris Corsano,
World's Most,
Kool Moe Dee,
Stetsasonic,
New Age Steppers,
Janne Schatter,
Vainqueur,
Black Flag,
D'Angelo,
Ronnie Foster,
Bad Manners,
Lou Reed & John Cale,
Radiopuhelimet,
The Smoke,
London Community Gospel Choir,
Black Pus,
Judy Mowatt,
8 Eyed Spy,
Gang of Four,
Aswad,
Roxy Music,
Vladislav Delay,
Joyce Sims,
Livin' Joy,
The Jesus and Mary Chain,
Graham Central Station,
Pantaleimon,
Oblivians,
The Slackers,
Tears for Fears,
Audionom,
Ken Boothe,
The Gladiators,
Super Lover Cee & Casanova Rud,
The Five Americans,
Cabaret Voltaire,
Fear,
the Slits,
Juan Atkins,
Orchestral Manoeuvres in the Dark,
Main Source,
Tomorrow,
Television Personalities,
Boredoms,
Quando Quango,
DJ Sneak,
The Wake,
KRS-One,
Kerri Chandler,
In Retrospect,
AZ,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.