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 Italy and from Lille.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1963 to 1972.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Lille 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 snare sounds with much patience.
I was there when Nile Rodgers 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 These Immortal Souls to the grunge kids.
I played it at Cafe Wha.
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 Ajijia Myrayebe. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Faraquet 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 '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Gil Scott-Heron & Brian Jackson,
Eve St. Jones,
Rowland S Howard / Lydia Lunch,
Kerrie Biddell,
Ohio Players,
The Gories,
Desert Stars,
Country Joe & The Fish,
Ken Boothe,
Nico,
In Retrospect,
LL Cool J,
Thompson Twins,
Essential Logic,
Richard Hell and the Voidoids,
Jeff Mills,
Basic Channel,
The Barracudas,
Brass Construction,
Stetsasonic,
The Toasters,
KRS-One,
The Walker Brothers,
Darondo,
Crooked Eye,
Bang on a Can All-Stars,
Colin Newman,
Pantaleimon,
Sex Pistols,
The Black Dice,
Mark Hollis,
Quadrant,
Avey Tare & Kría Brekkan,
B.T. Express,
The Star Department,
The Cowsills,
John Lydon,
Icehouse,
Andrew Hill,
Clear Light,
K-Klass,
Rhythm & Sound,
Michelle Simonal,
Faust,
Donald Byrd,
Jeff Lynne,
Gregory Isaacs,
Byron Stingily,
Rapeman,
Kool Moe Dee,
The Fortunes,
Aaron Thompson,
The Busters,
Althea and Donna,
The Chocolate Watch Band,
The Litter,
Oblivians,
Lucky Dragons,
Crime,
the Slits,
Anakelly,
Orchestral Manoeuvres in the Dark,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.