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 Guatemala and from Tokyo.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Philadelphia.
I'm losing my edge to the art-school Cairo 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Grauzone to the jazz kids.
I played it at the Astoria.
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 Matthew Bourne. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every The Trojans 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 '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Joey Negro,
Sam Rivers,
Wire,
Larry & the Blue Notes,
Ultravox,
The Zeros,
Crash Course in Science,
Ronnie Foster,
Lakeside,
Chrome,
The Walker Brothers,
The Busters,
Captain Beefheart & His Magic Band,
The Selecter,
Khruangbin,
Harmonia,
Bad Manners,
Yellowson,
Hoover,
Lyres,
Man Eating Sloth,
Roy Ayers Ubiquity,
David McCallum,
The Star Department,
Anthony Braxton,
Janne Schatter,
New Order,
Joyce Sims,
The Gladiators,
Lucky Dragons,
L. Decosne,
Ossler,
Bobby Womack,
Swans,
Flash Fearless,
The Smiths,
Barbara Tucker,
The Fortunes,
The Doors,
Frankie Knuckles,
Selector Dub Narcotic,
Yazoo,
Drive Like Jehu,
Heaven 17,
Jimmy McGriff,
Gang of Four,
Gil Scott-Heron and Jamie xx,
The Slits,
Letta Mbulu,
Vainqueur,
Bill Near,
Dave Gahan,
OOIOO,
the Bar-Kays,
Brothers Johnson,
Spoonie Gee,
Gang Green,
Stereo Dub,
Marc Almond,
Grey Daturas,
Q and Not U,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.