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 Poland and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school London 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Sällskapet to the grunge 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 Japan. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Amazonics 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Jerry Gold Smith,
Chrome,
Cabaret Voltaire,
Infiniti,
X-Ray Spex,
Amazonics,
The Wake,
Slave,
Alton Ellis,
Pagans,
Nik Kershaw,
Jesper Dahlbäck,
The Monks,
Ronnie Foster,
It's A Beautiful Day,
Khruangbin,
MC5,
D'Angelo,
Severed Heads,
The Dead C,
Organ,
Con Funk Shun,
Yellowson,
Cymande,
Donny Hathaway,
Goldenarms,
Sister Nancy,
Royal Trux,
Lindisfarne,
Inner City,
Gil Scott-Heron and Jamie xx,
Lou Christie,
Das Ding,
Drive Like Jehu,
Iggy Pop,
Curtis Mayfield,
Massinfluence,
Throbbing Gristle,
The Remains,
Archie Shepp,
New Order,
David Axelrod,
Deutsch Amerikanische Freundschaft,
Blake Baxter,
10cc,
Prince Buster,
Circle Jerks,
Warsaw,
Gil Scott Heron,
The Shadows of Knight,
Barry Ungar,
Scrapy,
Joyce Sims,
Liaisons Dangereuses,
The Doors,
The Invisible,
The Tremeloes,
Zapp,
L. Decosne,
The Motions,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.