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 Ireland and from Copenhagen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Soulsonic Force to the punk kids.
I played it at the Hacienda.
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 Laurel Aitken. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Accadde A,
the Human League,
Peter and Kerry,
Tears for Fears,
Man Eating Sloth,
Yaz,
Yellowson,
Simply Red,
ABBA,
Scratch Acid,
Franke,
Ash Ra Tempel,
Roxy Music,
Faraquet,
Roger Hodgson,
The Gun Club,
X-101,
Suicide,
London Community Gospel Choir,
Barbara Tucker,
Avey Tare,
Traffic Nightmare,
Oneida,
The Fortunes,
Donald Byrd,
Goldenarms,
Fluxion,
Kool G Rap & DJ Polo,
Beasts of Bourbon,
Robert Hood,
Index,
Boz Scaggs,
Gang of Four,
Archie Shepp,
A Flock of Seagulls,
David McCallum,
Ralphi Rosario,
China Crisis,
Heavy D & The Boyz,
Country Joe & The Fish,
The Cosmic Jokers,
Albert Ayler,
Ice-T,
Sight & Sound,
Marc Romboy vs. Booka Shade,
Teenage Jesus and the Jerks,
H. Thieme,
Ohio Players,
Mo-Dettes,
Bootsy Collins,
The Busters,
Jacques Brel,
the Association,
Bronski Beat,
Shoche,
Pole,
Rhythm & Sound,
Sun Ra,
Bauhaus,
Letta Mbulu,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.