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 Bolivia and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Lagos and Manchester.
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 linndrum 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 Pulsallama to the electroclash kids.
I played it at the Troubador.
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 Byron Stingily. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Carl Craig,
The Monochrome Set,
Joyce Sims,
Kool Moe Dee,
Orchestral Manoeuvres in the Dark,
David McCallum,
Sparks,
E-Dancer,
Bobby Womack,
Liaisons Dangereuses,
Aural Exciters,
MC5,
The Techniques,
Neil Young,
Stockholm Monsters,
Prince Buster,
Electric Light Orchestra,
The Alarm Clocks,
The Smiths,
The Names,
The Sound,
Gregory Isaacs,
Warren Ellis,
Letta Mbulu,
The Tremeloes,
Jacob Miller,
PIL,
Underground Resistance,
Banda Bassotti,
Leonard Cohen,
The Black Dice,
Junior Murvin,
Bang on a Can All-Stars,
Sex Pistols,
Lizzy Mercier Descloux,
Vaughan Mason & Crew,
The Selecter,
Bluetip,
Johnny Osbourne,
The Victims,
Deutsch Amerikanische Freundschaft,
Grey Daturas,
Archie Shepp,
Circle Jerks,
Duran Duran,
Von Mondo,
Selector Dub Narcotic,
Ajijia Myrayebe,
Soft Cell,
a-ha,
Roy Ayers Ubiquity,
UT,
Sugar Minott,
X-101,
Don Cherry,
Infiniti,
Massinfluence,
Crooked Eye,
Chris Corsano,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.