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 Palau and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Houston and Philadelphia.
I'm losing my edge to the art-school Stockholm 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Grauzone 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 Colin Newman. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
The Trojans,
Davy DMX,
Strawberry Alarm Clock,
Siglo XX,
Essential Logic,
the Slits,
Dorothy Ashby,
R.M.O.,
Youth Brigade,
Terror Squad Feat. Camron,
Traffic Nightmare,
Todd Rundgren,
Q65,
Gabor Szabo,
The Mummies,
Gil Scott-Heron and Jamie xx,
UT,
The Young Rascals,
Pharaoh Sanders and the Fire Engines,
Model 500,
Rosa Yemen,
The Knickerbockers,
Lonnie Liston Smith,
Rahsaan Roland Kirk,
Gil Scott-Heron & Brian Jackson,
Funkadelic,
Basic Channel,
Curtis Mayfield,
Boogie Down Productions,
Scion,
The Motions,
Negative Approach,
New Order,
Young Marble Giants,
Barbara Tucker,
The Royal Family And The Poor,
Unwound,
The Selecter,
Ronnie Foster,
Cheater Slicks,
Black Flag,
The Busters,
The Gap Band,
Jacques Brel,
Faraquet,
Hoover,
Pulsallama,
Whodini,
Au Pairs,
Mad Mike,
Beasts of Bourbon,
Bauhaus,
The Raincoats,
Alton Ellis,
Buzzcocks,
Pete Rock & C.L. Smooth,
Erasure,
Grandmaster Flash and the Furious Five,
Silicon Teens,
The Real Kids,
OOIOO,
The Monks,
Pole,
Drexciya, Drexciya, Drexciya, Drexciya.
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.