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 Latvia and from Tokyo.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Paris 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 The Fall to the grime kids.
I played it at the Troubador.
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 Lizzy Mercier Descloux. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Curtis Mayfield record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Agent Orange,
Ultramagnetic MC's,
Rhythm & Sound,
New Age Steppers,
The Walker Brothers,
Kerri Chandler,
The Skatalites,
Parry Music,
Buzzcocks,
The Evens,
the Germs,
Lalann,
The Fire Engines,
The Velvet Underground,
Erykah Badu,
Index,
Mo-Dettes,
Gastr Del Sol,
Lalo Schifrin,
Stetsasonic,
Flipper,
Brick,
Marine Girls,
Unrelated Segments,
Throbbing Gristle,
Q65,
Yusef Lateef,
Section 25,
Sam Rivers,
Bootsy's Rubber Band,
Gabor Szabo,
The Cosmic Jokers,
The Victims,
Absolute Body Control,
Man Eating Sloth,
Max Romeo,
Todd Rundgren,
Moby Grape,
Roxette,
Newcleus,
Pete Rock & C.L. Smooth,
Marmalade,
John Holt,
The Searchers,
Donny Hathaway,
This Heat,
Peter & Gordon,
Scott Walker + Sunn O))),
Matthew Halsall,
Television Personalities,
Dual Sessions,
Cabaret Voltaire,
Moss Icon,
The Dirtbombs,
Crooked Eye,
Michelle Simonal,
La Düsseldorf,
Letta Mbulu,
Sun Ra,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.