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 Malta and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1960 to 1974.
I'm losing my edge.
To all the kids in Columbus and Portland.
I'm losing my edge to the art-school Toronto 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 clarinet 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 John Lydon to the grunge kids.
I played it at the Troubador.
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 Mantronix. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad 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?
Minny Pops,
Sound Behaviour,
Blancmange,
The Beau Brummels,
Robert Wyatt,
Thinking Fellers Union Local 282,
Peter Gordon & Love of Life Orchestra,
Pulsallama,
Jacob Miller,
Electric Prunes,
The Shadows of Knight,
Lightning Bolt,
New Age Steppers,
Marine Girls,
The Dave Clark Five,
Spandau Ballet,
Alison Limerick,
Wally Richardson,
Brothers Johnson,
Davy DMX,
Con Funk Shun,
the Association,
the Human League,
Schoolly D,
Outsiders,
Panda Bear,
The Men They Couldn't Hang,
Unwound,
Pantaleimon,
the Slits,
Malaria!,
Nik Kershaw,
Average White Band,
Popol Vuh,
Absolute Body Control,
Index,
Dead Boys,
Heaven 17,
Eurythmics,
Sarah Menescal,
Eric Copeland,
The Knickerbockers,
Rhythm & Sound,
Vaughan Mason & Crew,
DNA,
Roxy Music,
Rufus Thomas,
Derrick Morgan,
The Pop Group,
Soulsonic Force,
Toni Rubio,
The Wake,
The Smiths,
Ludus,
Masters at Work,
The Names,
Patti Smith,
Vladislav Delay,
MDC,
Sällskapet,
Sister Nancy,
AZ,
DeepChord presents Echospace,
Country Joe & The Fish,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.