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 Luxembourg and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Taipei and Houston.
I'm losing my edge to the art-school Shanghai 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Kool G Rap & DJ Polo to the punk kids.
I played it at CBGB's.
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 Graham Central Station. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Juan Atkins 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Zapp,
Danielle Patucci,
Warren Ellis,
Brand Nubian,
Lee Hazlewood,
Parry Music,
Fluxion,
The Martian,
The Move,
Pantytec,
Marmalade,
Mo-Dettes,
Unwound,
Siouxsie and the Banshees,
Sparks,
The Smiths,
Crooked Eye,
Johnny Osbourne,
Soul Sonic Force,
Vladislav Delay,
Black Flag,
John Holt,
Kango’s Stein Massive,
Rosa Yemen,
John Lydon,
New York Dolls,
A Certain Ratio,
Mars,
Fad Gadget,
Visionaries,LMNO, T- Love & Iriscience,
Aural Exciters,
Tommy Roe,
AZ,
Carl Craig,
Goldenarms,
Amon Düül,
Basic Channel,
The Offenders,
The Saints,
The Seeds,
Avey Tare,
Television Personalities,
Bobby Sherman,
Crispian St. Peters,
The Music Machine,
Strawberry Alarm Clock,
Wighnomy Brothers & Robag Wruhme,
Half Japanese,
Smog,
the Sonics,
Aloha Tigers,
DNA,
Rowland S Howard / Lydia Lunch,
Lonnie Liston Smith,
Eric Copeland,
DJ Style,
Juan Atkins,
Alton Ellis,
Kevin Saunderson,
John Coltrane,
Black Pus,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.