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 Yemen and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Paris 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Rod Modell to the techno 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 Laurel Aitken. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Pharaoh Sanders and the Fire Engines,
China Crisis,
the Slits,
Terry Callier,
Negative Approach,
The Monochrome Set,
Surgeon,
Guru Guru,
Nils Olav,
Barbara Tucker,
The Move,
Crispian St. Peters,
Underground Resistance,
Eric B and Rakim,
The Selecter,
Idris Muhammad,
Trumans Water,
Chrome,
Bobbi Humphrey,
Tomorrow,
Laurel Aitken,
Zero Boys,
Isaac Hayes,
Nirvana,
Sound Behaviour,
Loose Ends,
Fugazi,
The Moleskins,
Make Up,
Yaz,
UT,
Scratch Acid,
The Fire Engines,
Subhumans,
Sun Ra Arkestra,
Lou Reed,
The Dave Clark Five,
Desert Stars,
Delon & Dalcan,
Scrapy,
Louis and Bebe Barron,
Alphaville,
Roxette,
Nation of Ulysses,
Crispy Ambulance,
Carl Craig,
Talk Talk,
Von Mondo,
Avey Tare,
Spandau Ballet,
Saccharine Trust,
Anakelly,
Pantaleimon,
The Evens,
Teenage Jesus and the Jerks,
Soft Machine,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.