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 Afghanistan and from Houston.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Lille and Cairo.
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 spring reverb 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 Sister Nancy to the techno kids.
I played it at Trash.
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 Fort Wilson Riot. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every The Smiths 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Pharoah Sanders,
Hashim,
Gregory Isaacs,
Janne Schatter,
Fugazi,
FM Einheit,
Mantronix,
Model 500,
Wire,
KRS-One,
The Jesus and Mary Chain,
Little Man,
John Foxx,
Ultra Naté,
Metal Thangz,
The Cosmic Jokers,
Underground Resistance,
Soul II Soul,
Agent Orange,
ABBA,
Scrapy,
Lalo Schifrin,
Matthew Halsall,
Lou Reed & John Cale,
Reuben Wilson,
Tommy Roe,
Bobbi Humphrey,
Excepter,
Dawn Penn,
Urselle,
Laurel Aitken,
The Star Department,
Junior Murvin,
Crooked Eye,
Trumans Water,
DJ Sneak,
Nation of Ulysses,
Eve St. Jones,
Tres Demented,
Skriet,
Peter Gordon & Love of Life Orchestra,
Eurythmics,
DJ Style,
Connie Case,
The Busters,
Kool G Rap & DJ Polo,
the Fania All-Stars,
Traffic Nightmare,
Man Eating Sloth,
Be Bop Deluxe,
Derrick May,
Section 25,
Patti Smith,
It's A Beautiful Day,
Sonic Youth,
The Selecter,
The Associates,
Magazine,
Q65,
Bad Manners,
Stereo Dub,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.