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 Liberia and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Sao Paulo.
I'm losing my edge to the art-school Copenhagen 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 Michael McDonald 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 Red Lorry Yellow Lorry to the rap kids.
I played it at the Astoria.
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 Interpol. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic 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 '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed 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?
The West Coast Pop Art Experimental Band,
Peter & Gordon,
The Mojo Men,
Nirvana,
Hot Snakes,
The Chocolate Watch Band,
The Busters,
Lightning Bolt,
Johnny Clarke,
Nik Kershaw,
Hashim,
Duran Duran,
Massinfluence,
The Toasters,
Rahsaan Roland Kirk,
Scott Walker,
Aswad,
Röyhkä ja Rättö ja Lehtisalo,
Suicide,
Dual Sessions,
Grandmaster Flash and the Furious Five,
Colin Newman,
The Fire Engines,
Con Funk Shun,
The Happenings,
Jerry Gold Smith,
Judy Mowatt,
David Bowie,
Glenn Branca,
Echospace,
The Offenders,
Joe Smooth,
the Bar-Kays,
Swans,
Agent Orange,
Sunsets and Hearts,
Brick,
Half Japanese,
Rhythim Is Rhythim,
Vaughan Mason & Crew,
Bill Near,
Negative Approach,
Ken Boothe,
The Monks,
Section 25,
Art Ensemble Of Chicago,
Excepter,
Don Cherry,
Amazonics,
The Young Rascals,
Tears for Fears,
Dennis Brown,
The Zeros,
John Cale,
Richard Hell and the Voidoids,
a-ha,
Sister Nancy,
Funkadelic,
Avey Tare,
Maurizio,
10cc,
Minor Threat,
The Men They Couldn't Hang,
John Holt,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.