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 Liberia and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1972.
I'm losing my edge.
To all the kids in London and Mexico City.
I'm losing my edge to the art-school Manchester 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 808 sounds with much patience.
I was there when Robert Palmer 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 Charles Mingus to the rock kids.
I played it at the Astoria.
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 Underground Resistance. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Magma record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Depeche Mode,
Lightning Bolt,
Jacques Brel,
Soft Machine,
Pole,
Tommy Roe,
Pere Ubu,
China Crisis,
Young Marble Giants,
Bobby Hutcherson,
The Last Poets,
Camouflage,
Al Stewart,
Black Moon,
Fugazi,
The Monochrome Set,
Sexual Harrassment,
Thompson Twins,
Fear,
Bobbi Humphrey,
The Chocolate Watch Band,
Scan 7,
Negative Approach,
Graham Central Station,
The Kinks,
Grey Daturas,
Lindisfarne,
Slave,
The Durutti Column,
Soul II Soul,
48th St. Collective,
Little Man,
Agitation Free,
Vladislav Delay,
The Velvet Underground,
The Techniques,
Red Lorry Yellow Lorry,
Marshall Jefferson,
Public Image Ltd.,
Richard Hell and the Voidoids,
Oblivians,
Pharoah Sanders,
Make Up,
Echo & the Bunnymen,
Kool Moe Dee,
Average White Band,
Gary Puckett & The Union Gap,
Dorothy Ashby,
Technova,
Todd Rundgren,
Lungfish,
Deakin,
Erasure,
Grauzone,
kango's stein massive,
D'Angelo,
Eve St. Jones,
Sonny Sharrock,
the Bar-Kays,
Ken Boothe,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.