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 Mauritius and from Bremen.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Seoul and Stockholm.
I'm losing my edge to the art-school Glasgow 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 organ sounds with much patience.
I was there when Donald Fagen 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 Pharoah Sanders to the dance kids.
I played it at the Spitz.
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 Althea and Donna. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Al Stewart,
The American Breed,
The Gun Club,
The New Christs,
Lyres,
Ohio Players,
Grandmaster Flash and the Furious Five,
the Normal,
Howard Jones,
Circle Jerks,
Faust,
Audionom,
Pierre Henry,
Robert Hood,
X-101,
Wally Richardson,
Blancmange,
Japan,
Gregory Isaacs,
John Holt,
Faraquet,
Depeche Mode,
Kerrie Biddell,
Lucky Dragons,
Boogie Down Productions,
The Moleskins,
Eric Copeland,
Underground Resistance,
De La Soul & Jungle Brothers,
kango's stein massive,
Avey Tare,
Bootsy's Rubber Band,
Judy Mowatt,
Man Eating Sloth,
Sparks,
Jesper Dahlbäck,
cv313,
Gong,
Symarip,
MDC,
Wire,
The Sonics,
Roy Ayers,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bobby Hutcherson,
The Zeros,
a-ha,
the Human League,
Scan 7,
Cheater Slicks,
Adolescents,
Brick,
Laurel Aitken,
Toni Rubio,
Inner City,
Brothers Johnson,
Crash Course in Science,
Ice-T,
Crime,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.