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 Maldives and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1960 to 1972.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Seoul 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 rhodes 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 Alison Limerick to the punk kids.
I played it at the 40 Watt.
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 Deadbeat. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Eurythmics,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Zero Boys,
Bad Manners,
Althea and Donna,
The Evens,
Dead Boys,
Peter and Kerry,
Scrapy,
The Velvet Underground,
Delta 5,
Organ,
Von Mondo,
B.T. Express,
Au Pairs,
Carl Craig,
the Normal,
The Moleskins,
Andrew Hill,
Shuggie Otis,
Ajijia Myrayebe,
Guru Guru,
Wolf Eyes,
Maurizio,
These Immortal Souls,
Heavy D & The Boyz,
Subhumans,
June Days,
The United States of America,
the Slits,
Blossom Toes,
Unrelated Segments,
Stiv Bators,
Saccharine Trust,
The Doobie Brothers,
Little Man,
Scratch Acid,
Kurtis Blow,
Smog,
John Holt,
Lonnie Liston Smith,
Groovy Waters,
Rites of Spring,
H. Thieme,
Ultra Naté,
Agent Orange,
Siouxsie and the Banshees,
Funky Four + One,
Vainqueur,
Spandau Ballet,
Sällskapet,
Rowland S Howard / Lydia Lunch,
Black Bananas,
The Count Five,
Richard Hell and the Voidoids,
Warren Ellis,
Arab on Radar,
The Dave Clark Five,
Camberwell Now,
Gang Gang Dance,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.