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 Pakistan and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1972.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 David Bowie 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 Gil Scott-Heron & Brian Jackson to the electroclash kids.
I played it at the Troubador.
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 Don Cherry. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Trumans Water,
Nation of Ulysses,
U.S. Maple,
Joey Negro,
The Alarm Clocks,
Scan 7,
The Pop Group,
Lebanon Hanover,
Guru Guru,
Lindisfarne,
Bob Dylan,
DJ Sneak,
Rhythim Is Rhythim,
Orchestral Manoeuvres in the Dark,
Sexual Harrassment,
Stetsasonic,
Soft Cell,
Visionaries,LMNO, T- Love & Iriscience,
Sparks,
Franke,
The Men They Couldn't Hang,
Sound Behaviour,
Sugar Minott,
Black Sheep,
Aural Exciters,
Eric B and Rakim,
Fat Boys,
Graham Central Station,
Gregory Isaacs,
Vladislav Delay,
Anakelly,
Blancmange,
Basic Channel,
Mo-Dettes,
Visage,
Minor Threat,
Cabaret Voltaire,
the Fania All-Stars,
Amon Düül II,
the Human League,
Glambeats Corp.,
B.T. Express,
Yaz,
The Divine Comedy,
Hardrive,
The West Coast Pop Art Experimental Band,
World's Most,
Robert Hood,
Eden Ahbez,
The Dead C,
Model 500,
Q and Not U,
Vaughan Mason & Crew,
Tears for Fears,
Bootsy Collins,
Cal Tjader,
Desert Stars,
Super Lover Cee & Casanova Rud,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.