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 Micronesia and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
I'm losing my edge to the art-school Columbus 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Pulsallama 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 Ituana. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every The Monochrome Set 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
R.M.O.,
Supertramp,
Tropical Tobacco,
The Residents,
Archie Shepp,
Deadbeat,
Bootsy Collins,
John Holt,
Junior Murvin,
The Move,
Gang Gang Dance,
Lucky Dragons,
Magma,
Judy Mowatt,
The Tremeloes,
The Invisible,
Lou Reed & Metallica,
Jacob Miller,
Maleditus Sound,
the Association,
Zero Boys,
Rowland S Howard / Lydia Lunch,
Echo & the Bunnymen,
Heavy D & The Boyz,
The Fugs,
The Wake,
Glenn Branca,
Fat Boys,
Gastr Del Sol,
Gil Scott Heron,
Lonnie Liston Smith,
Sandy B,
Pete Rock & C.L. Smooth,
The Seeds,
Piero Umiliani,
the Bar-Kays,
Y Pants,
Wasted Youth,
Easy Going,
Mars,
Godley & Creme,
Arthur Verocai,
The Skatalites,
Radiohead,
Cymande,
Blancmange,
Nico,
Alison Limerick,
Electric Light Orchestra,
Amon Düül II,
a-ha,
Buzzcocks,
World's Most,
Oblivians,
The Alarm Clocks,
Kerrie Biddell,
The Remains,
Goldenarms,
PIL,
Ten City,
Ohio Players,
The Sound, The Sound, The Sound, The Sound.
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.