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 Sweden and from Milan.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Mumbai and Winnipeg.
I'm losing my edge to the art-school Salvador 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 theremin 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 Sonny Sharrock to the rock 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 Juan Atkins. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Thinking Fellers Union Local 282,
The New Christs,
Nas,
Scott Walker,
Alphaville,
John Foxx,
Funky Four + One,
Reagan Youth,
The Misunderstood,
The Smiths,
Rapeman,
Skaos,
Agent Orange,
Skarface,
Aural Exciters,
Simply Red,
Banda Bassotti,
The Trojans,
Subhumans,
Lightning Bolt,
Marc Almond,
Outsiders,
The Music Machine,
Massinfluence,
Cameo,
Adolescents,
The Modern Lovers,
Yazoo,
Fela Kuti,
Khruangbin,
Peter and Kerry,
Selector Dub Narcotic,
Moby Grape,
The Real Kids,
Dave Gahan,
Radio Birdman,
Bobbi Humphrey,
The Vogues,
The Skatalites,
Barclay James Harvest,
Camron Feat. Memphis Bleek And Beenie Seigel,
Johnny Osbourne,
John Cale,
Yusef Lateef,
James Chance & The Contortions,
Kaleidoscope,
Red Lorry Yellow Lorry,
Lindisfarne,
Malaria!,
Quantec,
The Gories,
Moebius,
Cymande,
Kango’s Stein Massive,
Sandy B,
Pulsallama,
Be Bop Deluxe,
Joey Negro,
Black Flag,
Pierre Henry,
Stiv Bators,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.