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 Seoul.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Houston and Tehran.
I'm losing my edge to the art-school Lille 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 Michael McDonald 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 Velvet Underground to the dance kids.
I played it at the Troubador.
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 R.M.O.. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
AZ,
PIL,
a-ha,
John Lydon,
The Busters,
The Pop Group,
Kerrie Biddell,
Kaleidoscope,
Franke,
Wire,
Tommy Roe,
The Gun Club,
Wolf Eyes,
Dave Gahan,
Sugar Minott,
Graham Central Station,
Electric Light Orchestra,
Bootsy Collins,
The Stooges,
Man Parrish,
Marshall Jefferson,
Kango’s Stein Massive,
Gichy Dan,
Kevin Saunderson,
Model 500,
Banda Bassotti,
John Coltrane,
Robert Hood,
Slave,
Dennis Brown,
Big Daddy Kane,
Crooked Eye,
Kool G Rap & DJ Polo,
Colin Newman,
Soulsonic Force,
OOIOO,
Brick,
Wighnomy Brothers & Robag Wruhme,
Harpers Bizarre,
Jesper Dahlbäck,
The Five Americans,
The Cosmic Jokers,
The Fortunes,
Stiv Bators,
Country Joe & The Fish,
Soul Sonic Force,
Visage,
Saccharine Trust,
Sixth Finger,
Gastr Del Sol,
Smog,
Ludus,
Ash Ra Tempel,
The Slits,
Kauko Röyhkä ja Narttu,
Livin' Joy,
Amazonics,
The Electric Prunes,
Lee Hazlewood,
Underground Resistance,
Tim Buckley,
The Wake,
Toni Rubio,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.