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 Johannesburg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1977.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Mumbai 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Althea and Donna to the grime kids.
I played it at the Astoria.
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 Strawberry Alarm Clock. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal rap 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 a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
The Sound,
James Chance & The Contortions,
Ice-T,
Gang Gang Dance,
Amon Düül,
Avey Tare & Kría Brekkan,
Gian Franco Pienzio,
Rhythm & Sound,
The Birthday Party,
Röyhkä ja Rättö ja Lehtisalo,
Vaughan Mason & Crew,
H. Thieme,
Justin Hinds & The Dominoes,
Flamin' Groovies,
Qualms,
Joe Smooth,
Josef K,
John Cale,
L. Decosne,
MC5,
The Fall,
Nick Cave & The Bad Seeds,
Thompson Twins,
Terry Callier,
Liaisons Dangereuses,
Sonny Sharrock,
Goldenarms,
Todd Rundgren,
Soft Machine,
Peter Gordon & Love of Life Orchestra,
Oneida,
Agitation Free,
Blake Baxter,
Echospace,
Rakim,
Susan Cadogan,
Ultimate Spinach,
Model 500,
Siglo XX,
Rotary Connection,
PIL,
Radiopuhelimet,
Bill Near,
Das Ding,
Crooked Eye,
Babytalk,
Jacques Brel,
Surgeon,
Drexciya,
Fat Boys,
The Happenings,
Brass Construction,
Country Joe & The Fish,
Eric Copeland,
Kevin Saunderson,
Whodini,
Donny Hathaway,
10cc,
Byron Stingily,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.