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 Nepal and from Cairo.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Taipei and Lyon.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 The Modern Lovers to the jazz kids.
I played it at the Spitz.
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 Whodini. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Robert Hood 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Strawberry Alarm Clock,
Oneida,
Dorothy Ashby,
New Order,
Youth Brigade,
Colin Newman,
Gabor Szabo,
Wally Richardson,
Hot Snakes,
Nas,
The Offenders,
Bad Manners,
Amazonics,
Drexciya,
Gichy Dan,
Khruangbin,
Rowland S Howard / Lydia Lunch,
Chris & Cosey,
T. Rex,
Fifty Foot Hose,
Man Eating Sloth,
Angry Samoans,
Piero Umiliani,
The Count Five,
Q and Not U,
Frankie Knuckles,
Animal Collective,
Tom Boy,
Donny Hathaway,
Richard Hell and the Voidoids,
Marcia Griffiths,
Dual Sessions,
Gian Franco Pienzio,
Sound Behaviour,
Dave Gahan,
The Neon Judgement,
The Knickerbockers,
the Bar-Kays,
La Düsseldorf,
Cal Tjader,
Sun Ra,
Bill Wells,
Throbbing Gristle,
KRS-One,
Liaisons Dangereuses,
The Fire Engines,
Smog,
Lucky Dragons,
Wings,
Robert Wyatt,
Deutsch Amerikanische Freundschaft,
Arab on Radar,
The Cowsills,
Scrapy,
Spoonie Gee,
a-ha,
DJ Style,
China Crisis,
Teenage Jesus and the Jerks,
Dr. Dre and Snoop Doggy Dog,
Suburban Knight,
The American Breed,
Jerry Gold Smith,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.