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 Guinea and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Delhi and Houston.
I'm losing my edge to the art-school Hong Kong 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 spring reverb 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 Icehouse to the grunge kids.
I played it at Trash.
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 Zapp. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every Gang Starr 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 '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Dark Day,
Visage,
The Durutti Column,
Bill Near,
The Techniques,
The Move,
Alison Limerick,
Pylon,
Terrestrial Tones,
Susan Cadogan,
The Selecter,
The Invisible,
Pete Rock & C.L. Smooth,
Liliput,
Sam Rivers,
Buzzcocks,
Matthew Bourne,
Mars,
Roxette,
Warren Ellis,
Joey Negro,
Avey Tare & Kría Brekkan,
the Germs,
Camberwell Now,
The Dirtbombs,
Cabaret Voltaire,
Richard Hell and the Voidoids,
The Black Dice,
Au Pairs,
Moby Grape,
Albert Ayler,
The Victims,
Mad Mike,
Lou Reed,
Banda Bassotti,
Thinking Fellers Union Local 282,
Half Japanese,
Television Personalities,
Bluetip,
Soulsonic Force,
OOIOO,
Swell Maps,
Metal Thangz,
The Toasters,
Rosa Yemen,
Lower 48,
Howard Jones,
Pere Ubu,
Jacob Miller,
Bang on a Can All-Stars,
kango's stein massive,
Justin Hinds & The Dominoes,
Toni Rubio,
Selector Dub Narcotic,
The Last Poets,
David McCallum,
Chris & Cosey,
Sound Behaviour,
Aloha Tigers,
Nas, Nas, Nas, Nas.
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.