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 Austria and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1979.
I'm losing my edge.
To all the kids in Seoul and Tokyo.
I'm losing my edge to the art-school Shanghai 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 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 Charles Mingus to the dance 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 Ultimate Spinach. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Lalann 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
The Black Dice,
Wire,
DeepChord presents Echospace,
Eric Dolphy,
Joey Negro,
Trumans Water,
Henry Cow,
Johnny Osbourne,
The Names,
D'Angelo,
Goldenarms,
Masters at Work,
Larry & the Blue Notes,
Susan Cadogan,
Crispy Ambulance,
JFA,
Radiopuhelimet,
Country Teasers,
Anakelly,
Blancmange,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Niagra,
Avey Tare's Slasher Flicks,
Cabaret Voltaire,
Cluster,
Sonny Sharrock,
Monolake,
Amon Düül II,
The Blues Magoos,
Neil Young,
Sound Behaviour,
Michelle Simonal,
Roger Hodgson,
Audionom,
Davy DMX,
John Holt,
Marshall Jefferson,
the Normal,
Sparks,
The Cowsills,
Robert Wyatt,
Black Sheep,
Camberwell Now,
Bobby Byrd,
Liaisons Dangereuses,
Crash Course in Science,
Marine Girls,
Mission of Burma,
Hardrive,
The Real Kids,
Gil Scott-Heron and Jamie xx,
Urselle,
The Wake,
The Dave Clark Five,
Nik Kershaw,
Alton Ellis,
Rhythm & Sound,
Gang of Four,
Groovy Waters,
Spoonie Gee,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.