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 Australia and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1963 to 1970.
I'm losing my edge.
To all the kids in Lille and London.
I'm losing my edge to the art-school Salvador 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 Donald Fagen 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 John Coltrane to the jazz kids.
I played it at CBGB's.
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 The Beau Brummels. All the underground hits.
All Fatback Band 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 jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
It's A Beautiful Day,
Grey Daturas,
Rosa Yemen,
Oblivians,
The Birthday Party,
Ultra Naté,
DJ Sneak,
Subhumans,
Camouflage,
The Fire Engines,
Toni Rubio,
David Bowie,
The Fortunes,
CMW,
Intrusion,
The Fuzztones,
Susan Cadogan,
Little Man,
Vaughan Mason & Crew,
New York Dolls,
Stockholm Monsters,
Drexciya,
Parry Music,
Ronan,
Sarah Menescal,
Scratch Acid,
Matthew Halsall,
The Slackers,
Sun Ra Arkestra,
Cabaret Voltaire,
Davy DMX,
kango's stein massive,
Absolute Body Control,
Public Image Ltd.,
Bobby Womack,
John Cale,
The Human League,
Scott Walker,
Rites of Spring,
Circle Jerks,
Marc Romboy vs. Booka Shade,
Banda Bassotti,
Infiniti,
Gregory Isaacs,
the Bar-Kays,
Half Japanese,
Dead Boys,
Eyeless In Gaza,
Judy Mowatt,
Sällskapet,
Lightning Bolt,
Simply Red,
Michelle Simonal,
June of 44,
Strawberry Alarm Clock,
Agent Orange,
Graham Central Station,
Major Organ And The Adding Machine,
Robert Görl,
Ken Boothe,
Index,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.