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 Malta and from Edmonton.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Arcadia to the grime kids.
I played it at the Roxy.
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 Arthur Verocai. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every The Fire Engines 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
D'Angelo,
The Remains,
Banda Bassotti,
Shoche,
Howard Jones,
Motorama,
Electric Light Orchestra,
Peter and Kerry,
Das Ding,
Public Enemy,
The Move,
Steve Hackett,
Louis and Bebe Barron,
the Fania All-Stars,
Vaughan Mason & Crew,
Saccharine Trust,
Slick Rick,
Derrick Morgan,
The Vogues,
Japan,
Oppenheimer Analysis,
Gang of Four,
Quantec,
The Cure,
Joe Smooth,
Funkadelic,
Jeru the Damaja,
Duran Duran,
Harry Pussy,
Albert Ayler,
Guru Guru,
Ralphi Rosario,
The Music Machine,
Major Organ And The Adding Machine,
Terry Callier,
The Wake,
Soul II Soul,
Rakim,
Depeche Mode,
Mantronix,
Crooked Eye,
Porter Ricks,
The Durutti Column,
Yazoo,
Ossler,
Eddi Front,
Fluxion,
Black Bananas,
The Dirtbombs,
Art Ensemble Of Chicago,
Ten City,
The Moleskins,
Pantaleimon,
UT,
Nils Olav,
It's A Beautiful Day,
John Foxx,
Davy DMX,
Oblivians,
Audionom,
The Sisters of Mercy,
Parry Music, Parry Music, Parry Music, Parry Music.
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.