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 Oman and from Paris.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1978.
I'm losing my edge.
To all the kids in Stockholm and Stockholm.
I'm losing my edge to the art-school Jakarta 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 guitar 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 Bobby Hutcherson to the rock 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 The Detroit Cobras. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Camouflage 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 '80s cut and another box set from the '80s.
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 Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dennis Brown,
Public Enemy,
Talk Talk,
The Smoke,
Kayak,
The J.B.'s,
Skriet,
Suicide,
Schoolly D,
John Holt,
Section 25,
Intrusion,
Arthur Verocai,
Scrapy,
Sound Behaviour,
Gichy Dan,
Mission of Burma,
Sonny Sharrock,
Mars,
Quando Quango,
Moby Grape,
PIL,
Camberwell Now,
Lower 48,
Rowland S Howard / Lydia Lunch,
Ponytail,
Roxy Music,
U.S. Maple,
Crime,
The Young Rascals,
X-101,
Soft Machine,
Minutemen,
Mo-Dettes,
Ultra Naté,
Swell Maps,
Dead Boys,
Niagra,
Boogie Down Productions,
Bush Tetras,
Bauhaus,
Judy Mowatt,
Cybotron,
Agitation Free,
Jeff Mills,
Avey Tare & Kría Brekkan,
The Fortunes,
The Martian,
A Certain Ratio,
David Bowie,
Barry Ungar,
The New Christs,
H. Thieme,
8 Eyed Spy,
The Sound,
Tommy Roe,
ABBA,
Liaisons Dangereuses,
Grey Daturas,
Bizarre Inc.,
The Fall,
Minny Pops,
The Walker Brothers,
Sex Pistols,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.