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 Sierra Leone and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1976.
I'm losing my edge.
To all the kids in Milan and Halifax.
I'm losing my edge to the art-school Shanghai 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 sitar 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 The Techniques to the punk kids.
I played it at the Crocodile.
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 Rufus Thomas. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Avey Tare,
The Standells,
Graham Central Station,
The Misunderstood,
Donny Hathaway,
Au Pairs,
Tim Buckley,
Stereo Dub,
The Litter,
Anthony Braxton,
Crime,
Soft Machine,
John Cale,
Heaven 17,
Dennis Brown,
The Raincoats,
Bootsy's Rubber Band,
Colin Newman,
Los Fastidios,
UT,
Chris & Cosey,
Procol Harum,
Cheater Slicks,
Clear Light,
Quantec,
Parry Music,
Johnny Clarke,
The American Breed,
Icehouse,
Oblivians,
B.T. Express,
Erasure,
Amon Düül II,
Max Romeo,
Gil Scott Heron,
Sarah Menescal,
Livin' Joy,
Duran Duran,
PIL,
T. Rex,
Black Flag,
Isaac Hayes,
Joy Division,
Liaisons Dangereuses,
Janne Schatter,
Stockholm Monsters,
Animal Collective,
Minnie Riperton,
Theoretical Girls,
Aaron Thompson,
Sticky Fingaz feat. Raekwon,
Avey Tare & Kría Brekkan,
The Fire Engines,
Organ,
Sunsets and Hearts,
David Axelrod,
Reuben Wilson,
Sight & Sound,
Kings Of Tomorrow,
Goldenarms,
Erykah Badu,
The Doors, The Doors, The Doors, The Doors.
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.