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 Trinidad & Tobago and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school Bologna 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 Holger Czukay 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 Peter & Gordon to the rock 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 The Names. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Blossom Toes,
The Move,
The Star Department,
Scion,
Andrew Ashong & Theo Parrish,
Sixth Finger,
Skaos,
Gian Franco Pienzio,
Deepchord,
Half Japanese,
The Durutti Column,
Joyce Sims,
Liliput,
Cymande,
The Five Americans,
OOIOO,
Nils Olav,
Tres Demented,
The Doobie Brothers,
Ornette Coleman,
Aaron Thompson,
DNA,
Sarah Menescal,
Selector Dub Narcotic,
This Heat,
The Cosmic Jokers,
10cc,
Rhythim Is Rhythim,
The Dead C,
Audionom,
Joensuu 1685,
Ultravox,
Ultramagnetic MC's,
Ultimate Spinach,
Maleditus Sound,
Shuggie Otis,
Grandmaster Flash,
The Mojo Men,
Radiopuhelimet,
James White and The Blacks,
Sight & Sound,
the Germs,
Sällskapet,
Dual Sessions,
Morten Harket,
Gil Scott-Heron and Jamie xx,
Deadbeat,
Reagan Youth,
Oblivians,
The Fuzztones,
The West Coast Pop Art Experimental Band,
Ronan,
Q65,
Sound Behaviour,
Aswad,
kango's stein massive,
Main Source,
Lalann,
the Fania All-Stars,
The Raincoats,
Schoolly D,
Scan 7,
Cybotron, Cybotron, Cybotron, Cybotron.
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.