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 Guinea-Bissau and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Halifax 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 harpsichord 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 The Shadows of Knight to the crunk 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 Bang on a Can All-Stars. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Robert Wyatt 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
A Flock of Seagulls,
Bootsy's Rubber Band,
F. McDonald,
FM Einheit,
Letta Mbulu,
Röyhkä ja Rättö ja Lehtisalo,
Don Cherry,
The Zeros,
Bang On A Can,
Sarah Menescal,
Terry Callier,
The Modern Lovers,
Donny Hathaway,
John Holt,
Yazoo,
The Martian,
Fear,
Masters at Work,
The Shadows of Knight,
Harpers Bizarre,
Manfred Mann's Earth Band,
Ludus,
Mark Hollis,
John Coltrane,
Lyres,
Dorothy Ashby,
Qualms,
The Durutti Column,
Janne Schatter,
The New Christs,
Brass Construction,
The Raincoats,
Sun City Girls,
Sam Rivers,
Peter & Gordon,
Tubeway Army,
T.S.O.L.,
Neil Young,
Technova,
Reagan Youth,
Byron Stingily,
Notorious Big And Bone Thugs,
The Angels of Light,
The Techniques,
Bobby Womack,
Sticky Fingaz feat. Raekwon,
Model 500,
Cameo,
Larry & the Blue Notes,
The Smiths,
Aaron Thompson,
The Detroit Cobras,
Camberwell Now,
Vainqueur,
Art Ensemble Of Chicago,
Blossom Toes,
Alice Coltrane,
Maleditus Sound,
Aural Exciters,
X-Ray Spex,
Hot Snakes,
Newcleus,
The Last Poets,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.