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 Kuwait and from Portland.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
I'm losing my edge to the art-school Calgary 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 rhodes 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 Junior Murvin to the grunge kids.
I played it at Cafe Wha.
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 Marine Girls. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
A Flock of Seagulls,
The Five Americans,
Bizarre Inc.,
Marvin Gaye,
Roy Ayers Ubiquity,
E-Dancer,
Lightning Bolt,
Public Image Ltd.,
The Busters,
Eli Mardock,
John Holt,
Kaleidoscope,
Patti Smith,
James White and The Blacks,
Bootsy Collins,
Nils Olav,
Fad Gadget,
Eric B and Rakim,
The Leaves,
Grandmaster Flash and the Furious Five,
Andrew Hill,
Archie Shepp,
The Grass Roots,
Lee Hazlewood,
The Selecter,
Sight & Sound,
Monolake,
Rites of Spring,
The Alarm Clocks,
Orchestral Manoeuvres in the Dark,
The Stooges,
The Names,
Kurtis Blow,
Sexual Harrassment,
The American Breed,
The Residents,
Porter Ricks,
The Associates,
Lafayette Afro Rock Band,
Nas,
New York Dolls,
OOIOO,
Gerry Rafferty,
Deutsch Amerikanische Freundschaft,
Scientists,
Marmalade,
The Raincoats,
Sound Behaviour,
Country Teasers,
Radio Birdman,
Glambeats Corp.,
Mantronix,
Kings Of Tomorrow,
Jacques Brel,
The Smiths,
L. Decosne,
Mark Hollis,
The Dirtbombs,
Motorama,
Robert Wyatt,
The Move, The Move, The Move, The Move.
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.