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 East Timor and from Lyon.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Columbus.
I'm losing my edge to the art-school Manchester 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 synthesizer 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 David McCallum to the disco 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 Maleditus Sound. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Barclay James Harvest 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 '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Malaria!,
Gil Scott-Heron and Jamie xx,
The Index,
Kerri Chandler,
T. Rex,
Rhythim Is Rhythim,
Sonic Youth,
Ronnie Foster,
Roy Ayers,
Drexciya,
Glenn Branca,
Von Mondo,
Icehouse,
The Wake,
DNA,
New Age Steppers,
Soul Sonic Force,
Mark Hollis,
Man Parrish,
Rhythm & Sound,
Dawn Penn,
The Techniques,
Pierre Henry,
Silicon Teens,
Quadrant,
Mad Mike,
Gang Green,
Spoonie Gee,
the Slits,
Stockholm Monsters,
The Smiths,
Henry Cow,
Gian Franco Pienzio,
Avey Tare & Kría Brekkan,
Ralphi Rosario,
Marine Girls,
John Coltrane,
Terror Squad Feat. Camron,
Eurythmics,
Half Japanese,
Crispy Ambulance,
Red Lorry Yellow Lorry,
Rosa Yemen,
Lindisfarne,
Underground Resistance,
Barclay James Harvest,
Jeff Lynne,
The United States of America,
Joe Smooth,
Terrestrial Tones,
Massinfluence,
Altered Images,
The Peanut Butter Conspiracy,
Bobby Sherman,
Schoolly D,
The Alarm Clocks,
The Sound,
Bill Wells,
The Human League, The Human League, The Human League, The Human League.
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.