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 Uruguay and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 New York and Houston.
I'm losing my edge to the art-school Glasgow 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 H. Thieme to the techno kids.
I played it at the Crocodile.
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 Rakim. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
Howard Jones,
The Knickerbockers,
Major Organ And The Adding Machine,
Susan Cadogan,
Chris Corsano,
Silicon Teens,
Big Daddy Kane,
Aaron Thompson,
Easy Going,
Soft Cell,
Robert Wyatt,
The Five Americans,
Scott Walker,
Bang On A Can,
The Residents,
Quadrant,
Dual Sessions,
UT,
Deutsch Amerikanische Freundschaft,
Pagans,
Soft Machine,
48th St. Collective,
Schoolly D,
One Last Wish,
Little Man,
Thinking Fellers Union Local 282,
The Chocolate Watch Band,
Delon & Dalcan,
Echo & the Bunnymen,
Visage,
CMW,
Absolute Body Control,
Bluetip,
Harmonia,
Aswad,
Darondo,
Fifty Foot Hose,
Bob Dylan,
Roy Ayers,
Harpers Bizarre,
Ice-T,
A Flock of Seagulls,
The Evens,
The Fall,
Kayak,
Rhythm & Sound,
Scan 7,
Jacques Brel,
Graham Central Station,
Nirvana,
Flamin' Groovies,
Sparks,
Bobby Byrd,
Amon Düül II,
Minny Pops,
Niagra,
Glambeats Corp.,
Sun Ra Arkestra,
New Order,
Liliput,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.