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 Syria and from Johannesburg.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lagos and Shanghai.
I'm losing my edge to the art-school Delhi 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Notorious Big And Bone Thugs to the techno kids.
I played it at CBGB's.
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 Scratch Acid. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog 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 '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Maleditus Sound,
Ken Boothe,
The Young Rascals,
Jacob Miller,
Yellowson,
It's A Beautiful Day,
Terrestrial Tones,
Sly & The Family Stone,
Bobby Womack,
Robert Görl,
Q and Not U,
Clear Light,
Sixth Finger,
Buzzcocks,
Eve St. Jones,
Interpol,
Kerri Chandler,
Camberwell Now,
D'Angelo,
Ice-T,
Visionaries,LMNO, T- Love & Iriscience,
Fela Kuti,
Cymande,
E-Dancer,
Wasted Youth,
Funkadelic,
Parry Music,
Au Pairs,
Big Daddy Kane,
Jeru the Damaja,
Michelle Simonal,
Blossom Toes,
Scratch Acid,
Symarip,
The J.B.'s,
Bobby Sherman,
Brothers Johnson,
U.S. Maple,
Fort Wilson Riot,
Nico,
The Sound,
Soul II Soul,
Roy Ayers Ubiquity,
H. Thieme,
Echospace,
the Normal,
K-Klass,
Sonic Youth,
Barclay James Harvest,
Saccharine Trust,
Byron Stingily,
The Martian,
Duran Duran,
Index,
Flash Fearless,
China Crisis,
This Heat,
The Standells,
Sam Rivers,
The Moleskins,
Ludus,
Yusef Lateef,
Pole, Pole, Pole, Pole.
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.