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 Uganda and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Lagos and London.
I'm losing my edge to the art-school Taipei 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Vaughan Mason & Crew to the grime 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 The Blackbyrds. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal dance 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 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Janne Schatter,
Chris & Cosey,
David Bowie,
Charles Mingus,
Soul II Soul,
Lucky Dragons,
Arthur Verocai,
Cecil Taylor,
Echospace,
Roy Ayers Ubiquity,
FM Einheit,
the Swans,
DeepChord presents Echospace,
Notorious BIG live in Amsterdam,
Lower 48,
Lafayette Afro Rock Band,
Ludus,
Tears for Fears,
Heavy D & The Boyz,
Oblivians,
Robert Wyatt,
Connie Case,
Funky Four + One,
The Velvet Underground,
Bang On A Can,
Lonnie Liston Smith,
The Motions,
Jesper Dahlbäck,
Excepter,
Sixth Finger,
Young Marble Giants,
The Residents,
Sonny Sharrock,
The Gladiators,
Rowland S Howard / Lydia Lunch,
Q65,
the Association,
Ash Ra Tempel,
Harmonia,
Amazonics,
Rhythm & Sound,
Minutemen,
Throbbing Gristle,
Lightning Bolt,
Desert Stars,
Strawberry Alarm Clock,
Maurizio,
Fatback Band,
Surgeon,
Bobby Hutcherson,
Thompson Twins,
Erasure,
Bill Near,
The Evens,
Gil Scott-Heron and Jamie xx,
James White and The Blacks,
Bobby Womack,
Echo & the Bunnymen,
X-101,
Eurythmics,
Ajijia Myrayebe,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.