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 Samoa and from Portland.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Manchester 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 808 sounds with much patience.
I was there when David Bowie 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 Second Layer to the grime 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 World's Most. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Chris & Cosey record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
The Fuzztones,
Johnny Osbourne,
Robert Hood,
Scott Walker,
China Crisis,
The Smiths,
Tommy Roe,
Electric Prunes,
Gian Franco Pienzio,
Hoover,
The West Coast Pop Art Experimental Band,
Theoretical Girls,
Brothers Johnson,
Judy Mowatt,
Liaisons Dangereuses,
Cecil Taylor,
The Selecter,
Eric B and Rakim,
Brass Construction,
Drive Like Jehu,
Pete Rock & C.L. Smooth,
Art Ensemble Of Chicago,
Ludus,
Deadbeat,
Monolake,
Pere Ubu,
Porter Ricks,
Curtis Mayfield,
Minor Threat,
Fela Kuti,
Bang On A Can,
Sonic Youth,
Zero Boys,
Nico,
Flamin' Groovies,
Major Organ And The Adding Machine,
June Days,
the Normal,
Talk Talk,
Buzzcocks,
Man Parrish,
Aaron Thompson,
Alphaville,
Quando Quango,
Gary Puckett & The Union Gap,
Grey Daturas,
Red Lorry Yellow Lorry,
Sandy B,
The New Christs,
Jesper Dahlbäck,
Henry Cow,
Arcadia,
The Grass Roots,
CMW,
The Knickerbockers,
Lightning Bolt,
One Last Wish,
Joey Negro,
John Holt,
Eve St. Jones,
The Seeds, The Seeds, The Seeds, The Seeds.
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.