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 Iran and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 Madrid and Edmonton.
I'm losing my edge to the art-school New York 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 808 sounds with much patience.
I was there when Nile Rodgers 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 Subhumans to the jazz 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 Kerri Chandler. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every The Durutti Column 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Leonard Cohen,
Spandau Ballet,
Bizarre Inc.,
Country Teasers,
Maleditus Sound,
Fifty Foot Hose,
The Fall,
Glambeats Corp.,
Althea and Donna,
The Young Rascals,
Eli Mardock,
Delta 5,
Gary Puckett & The Union Gap,
8 Eyed Spy,
Thee Headcoats,
Gichy Dan,
Unrelated Segments,
Kango’s Stein Massive,
The United States of America,
Babytalk,
Bang on a Can All-Stars,
The Mighty Diamonds,
Maurizio,
James White and The Blacks,
The Offenders,
The Divine Comedy,
Rufus Thomas,
New Age Steppers,
Agent Orange,
LL Cool J,
The Tremeloes,
Mission of Burma,
Sparks,
Deutsch Amerikanische Freundschaft,
Kurtis Blow,
U.S. Maple,
Peter and Kerry,
David Axelrod,
China Crisis,
Public Enemy,
DNA,
Dark Day,
The Dead C,
Avey Tare's Slasher Flicks,
Jerry's Kids,
Motorama,
Dead Boys,
Icehouse,
Kevin Saunderson,
Black Pus,
The Associates,
Hoover,
Super Lover Cee & Casanova Rud,
Kauko Röyhkä ja Narttu,
Archie Shepp,
R.M.O.,
Arthur Verocai,
Swell Maps,
The Slackers, The Slackers, The Slackers, The Slackers.
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.