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 Grenada and from Winnipeg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1973.
I'm losing my edge.
To all the kids in Woodstock and London.
I'm losing my edge to the art-school Glasgow 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Lou Reed to the techno 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 Bobby Hutcherson. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Simply Red,
Newcleus,
John Coltrane,
Dorothy Ashby,
Fifty Foot Hose,
Sonic Youth,
Cybotron,
Junior Murvin,
Eli Mardock,
Section 25,
Suburban Knight,
Mission of Burma,
Japan,
Heavy D & The Boyz,
The Blues Magoos,
Yazoo,
The Birthday Party,
Jacques Brel,
Adolescents,
Alphaville,
Jawbox,
Pete Rock & C.L. Smooth,
Parry Music,
The Sonics,
The Star Department,
Moebius,
Wasted Youth,
Interpol,
Ossler,
Swans,
The Peanut Butter Conspiracy,
U.S. Maple,
Todd Terry,
Red Lorry Yellow Lorry,
Amon Düül II,
Au Pairs,
Model 500,
Jandek,
Graham Central Station,
Tommy Roe,
The Fall,
Monolake,
Camouflage,
Arcadia,
Nick Cave & The Bad Seeds,
K-Klass,
X-102,
Vladislav Delay,
Connie Case,
Blake Baxter,
Marvin Gaye,
Richard Hell and the Voidoids,
Hashim,
Siouxsie and the Banshees,
Ajijia Myrayebe,
Kango’s Stein Massive,
Lalo Schifrin,
Drexciya,
Andrew Hill,
One Last Wish,
Quadrant,
Orchestral Manoeuvres in the Dark,
The Selecter, The Selecter, The Selecter, The Selecter.
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.