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 Argentina and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Glasgow.
I'm losing my edge to the art-school Manila 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 Tom Verlaine 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 Robert Wyatt to the electroclash 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 Tubeway Army. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal grime 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
K-Klass,
Althea and Donna,
De La Soul & Jungle Brothers,
Tomorrow,
Avey Tare's Slasher Flicks,
Scientists,
Pussy Galore,
Qualms,
Sam Rivers,
Marmalade,
Minutemen,
Q and Not U,
Jandek,
Stereo Dub,
John Holt,
Rosa Yemen,
Vladislav Delay,
Michelle Simonal,
Graham Central Station,
The Associates,
Minor Threat,
New York Dolls,
Sugar Minott,
Cecil Taylor,
Soul II Soul,
Dennis Brown,
The Vogues,
David Axelrod,
Rod Modell,
Mandrill,
Jesper Dahlback,
Lou Christie,
Todd Terry,
Pantaleimon,
PIL,
Letta Mbulu,
Scratch Acid,
Max Romeo,
Shoche,
Marvin Gaye,
Loose Ends,
The Skatalites,
John Coltrane,
Masters at Work,
Roxette,
Bush Tetras,
Jeru the Damaja,
The Flesh Eaters,
a-ha,
Rhythm & Sound,
Jeff Mills,
Nick Fraelich,
Quantec,
Negative Approach,
Neil Young,
Erasure,
Grey Daturas,
Agent Orange,
Gang Gang Dance,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.