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 Turkmenistan and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord 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 Yellowson to the disco kids.
I played it at the 40 Watt.
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 Terry Callier. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every The Black Dice 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 '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar 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 Smoke,
Brothers Johnson,
Amon Düül II,
Barbara Tucker,
The Leaves,
Robert Görl,
James Chance & The Contortions,
Judy Mowatt,
Marc Almond,
Bill Near,
Niagra,
Section 25,
Symarip,
The Music Machine,
The Martian,
Sad Lovers and Giants,
Gil Scott-Heron and Jamie xx,
Byron Stingily,
The Barracudas,
Lakeside,
Rufus Thomas,
Rahsaan Roland Kirk,
The Fortunes,
X-Ray Spex,
Icehouse,
Deadbeat,
Yellowson,
Surgeon,
Soul II Soul,
Massinfluence,
Ajijia Myrayebe,
Spandau Ballet,
Ituana,
Robert Wyatt,
Jeff Mills,
Sonny Sharrock,
E-Dancer,
Monolake,
The Dead C,
Angels of Light & Akron/Family,
Mo-Dettes,
Graham Central Station,
K-Klass,
The Doors,
Saccharine Trust,
Black Flag,
Deepchord,
Vaughan Mason & Crew,
OOIOO,
Bob Dylan,
Lizzy Mercier Descloux,
The Misunderstood,
Godley & Creme,
The Beau Brummels,
Lou Reed & John Cale,
Royal Trux,
Ponytail,
Eric Dolphy,
The Remains,
Reagan Youth,
The Durutti Column,
Deakin,
Yusef Lateef,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.