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 Vanuatu and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Tehran and Bremen.
I'm losing my edge to the art-school Stockholm 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 Lou Reed 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 Richard Hell and the Voidoids to the disco 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 Ronnie Foster. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends 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?
Bad Manners,
Lower 48,
Erasure,
Colin Newman,
The Offenders,
Nik Kershaw,
10cc,
The Misunderstood,
Man Eating Sloth,
Deutsch Amerikanische Freundschaft,
Quando Quango,
LL Cool J,
Swell Maps,
Bobby Womack,
Joey Negro,
The Detroit Cobras,
Sparks,
Mo-Dettes,
The Grass Roots,
Lou Christie,
Charles Mingus,
Trumans Water,
Jacob Miller,
Bobby Byrd,
The Smiths,
The Count Five,
The Gladiators,
Curtis Mayfield,
Steve Hackett,
The Alarm Clocks,
Michelle Simonal,
Thee Headcoats,
Khruangbin,
Jesper Dahlback,
Wighnomy Brothers & Robag Wruhme,
F. McDonald,
Crash Course in Science,
Derrick May,
Moby Grape,
The Seeds,
Anthony Braxton,
Sun Ra Arkestra,
Peter Gordon & Love of Life Orchestra,
The Vogues,
Toni Rubio,
Marshall Jefferson,
Soft Cell,
Beasts of Bourbon,
Pete Rock & C.L. Smooth,
Siglo XX,
Sexual Harrassment,
The Birthday Party,
Fugazi,
Hoover,
Sound Behaviour,
PIL,
Röyhkä ja Rättö ja Lehtisalo,
Technova,
Surgeon,
Stetsasonic,
Livin' Joy,
Nas,
Cheater Slicks, Cheater Slicks, Cheater Slicks, Cheater Slicks.
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.