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 United Kingdom and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1974.
I'm losing my edge.
To all the kids in Lille and Delhi.
I'm losing my edge to the art-school Delhi 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 808 sounds with much patience.
I was there when Robert Palmer 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 Spandau Ballet to the techno 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 The Dirtbombs. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Chris & Cosey record on German import.
I heard that you have a white label of every seminal rock 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Anakelly,
Kango’s Stein Massive,
Q65,
Second Layer,
John Coltrane,
Arcadia,
These Immortal Souls,
Liaisons Dangereuses,
Hot Snakes,
Sandy B,
Avey Tare's Slasher Flicks,
The Divine Comedy,
The Leaves,
The Mojo Men,
Barrington Levy,
Oppenheimer Analysis,
Amon Düül II,
Juan Atkins,
Slave,
Barclay James Harvest,
Harpers Bizarre,
Orchestral Manoeuvres in the Dark,
Gang Gang Dance,
Swell Maps,
Moby Grape,
The Saints,
Fela Kuti,
Los Fastidios,
Fad Gadget,
Ultra Naté,
Pharaoh Sanders and the Fire Engines,
Tres Demented,
Ossler,
Outsiders,
Wolf Eyes,
De La Soul & Jungle Brothers,
The J.B.'s,
Section 25,
The Pop Group,
Infiniti,
Can,
Boz Scaggs,
Manfred Mann's Earth Band,
10cc,
Notorious BIG live in Amsterdam,
The Sound,
Pere Ubu,
Lafayette Afro Rock Band,
Leonard Cohen,
Deutsch Amerikanische Freundschaft,
Audionom,
Brick,
The Dead C,
Darondo,
Robert Görl,
The Black Dice,
Procol Harum,
Alphaville,
The Detroit Cobras,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.