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 East Timor and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1974.
I'm losing my edge.
To all the kids in Winnipeg and Jakarta.
I'm losing my edge to the art-school Milan 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Underground Resistance to the jazz kids.
I played it at the Hacienda.
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 Brick. All the underground hits.
All Smog tracks. I heard you have a vinyl of every The Electric Prunes 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Ash Ra Tempel,
Robert Wyatt,
The Durutti Column,
The Gories,
Crispian St. Peters,
Monolake,
Nick Cave & The Bad Seeds,
Mandrill,
Main Source,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nirvana,
Oblivians,
Harmonia,
Nation of Ulysses,
Deadbeat,
Scratch Acid,
Porter Ricks,
Gregory Isaacs,
Neil Young & Crazy Horse,
Jesper Dahlback,
Flipper,
Barrington Levy,
Goldenarms,
La Düsseldorf,
Fat Boys,
F. McDonald,
Neu!,
Brick,
Cymande,
June Days,
Orchestral Manoeuvres in the Dark,
kango's stein massive,
Marshall Jefferson,
Isaac Hayes,
Fugazi,
the Bar-Kays,
Jeff Lynne,
Lou Reed & John Cale,
Yellowson,
Panda Bear,
Technova,
Grauzone,
Joyce Sims,
Stockholm Monsters,
Swell Maps,
Henry Cow,
Chris & Cosey,
Grandmaster Flash,
Blossom Toes,
Jerry Gold Smith,
Rhythim Is Rhythim,
Nico,
Subhumans,
The Standells,
Soft Machine,
Basic Channel,
Janne Schatter,
James White and The Blacks,
Jerry's Kids,
D'Angelo,
The Cure,
Pagans,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.