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 Senegal and from Delhi.
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 1978.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school Woodstock 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 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 Barry Ungar to the rock 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 Excepter. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Amon Düül II,
Gang Green,
Procol Harum,
Rakim,
The Chocolate Watch Band,
Young Marble Giants,
Red Lorry Yellow Lorry,
Barrington Levy,
The Skatalites,
Ronnie Foster,
The Sonics,
Barbara Tucker,
Tres Demented,
The Seeds,
Ohio Players,
Sad Lovers and Giants,
Deakin,
Accadde A,
Brick,
Cal Tjader,
Pussy Galore,
Sällskapet,
Colin Newman,
Unwound,
cv313,
Rotary Connection,
Porter Ricks,
Avey Tare & Kría Brekkan,
Outsiders,
The Slackers,
The Victims,
the Sonics,
Magma,
Zapp,
Blancmange,
Piero Umiliani,
La Düsseldorf,
Maleditus Sound,
Newcleus,
The Gun Club,
Robert Görl,
Scrapy,
Sound Behaviour,
Loose Ends,
Franke,
Susan Cadogan,
Fad Gadget,
The Associates,
The Last Poets,
Liaisons Dangereuses,
Wally Richardson,
Avey Tare,
Reagan Youth,
Stereo Dub,
Simply Red,
The Index,
Anthony Braxton,
Swans,
The Smiths,
The Trojans, The Trojans, The Trojans, The Trojans.
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.