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 Tanzania and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Sao Paulo.
I'm losing my edge to the art-school London 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 marimba 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 Faust to the electroclash 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 B.T. Express. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Inner City,
Drive Like Jehu,
Roger Hodgson,
Joey Negro,
Suburban Knight,
Fatback Band,
Pussy Galore,
Gastr Del Sol,
The Fugs,
Lou Reed & John Cale,
Rakim,
Subhumans,
Delta 5,
Chrome,
Tropical Tobacco,
Lungfish,
Lonnie Liston Smith,
DJ Style,
Bill Near,
Banda Bassotti,
Sandy B,
Lou Reed,
Tubeway Army,
Gil Scott Heron,
Q and Not U,
Cal Tjader,
Cheater Slicks,
The Dead C,
Harpers Bizarre,
Crispian St. Peters,
B.T. Express,
kango's stein massive,
The Slackers,
Minor Threat,
Marine Girls,
Monks,
The Walker Brothers,
The Knickerbockers,
Major Organ And The Adding Machine,
Ossler,
Michelle Simonal,
Scratch Acid,
The Cowsills,
Boredoms,
Freddie Wadling,
Fifty Foot Hose,
ABBA,
Intrusion,
China Crisis,
Television,
Fugazi,
The Names,
The Red Krayola,
Lucky Dragons,
Teenage Jesus and the Jerks,
the Slits,
Al Stewart,
Fluxion,
Ituana,
The Buckinghams,
Main Source, Main Source, Main Source, Main Source.
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.