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 Belgium and from Hong Kong.
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 1962 to 1975.
I'm losing my edge.
To all the kids in New York and Milan.
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 arpeggiator 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 Beasts of Bourbon to the disco kids.
I played it at Trash.
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 Dorothy Ashby. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Average White Band 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Frankie Knuckles,
David Bowie,
Suburban Knight,
The Litter,
Hardrive,
The Beau Brummels,
The Divine Comedy,
Ronnie Foster,
Dawn Penn,
Amon Düül,
Dark Day,
Derrick May,
Fad Gadget,
Porter Ricks,
The Count Five,
Ten City,
Little Man,
AZ,
Maleditus Sound,
Oneida,
The Toasters,
the Normal,
Guru Guru,
Television Personalities,
The Cure,
Urselle,
The Victims,
Marmalade,
Rhythim Is Rhythim,
The Slits,
Deepchord,
Public Image Ltd.,
The Move,
Ohio Players,
Marc Romboy vs. Booka Shade,
Siouxsie and the Banshees,
A Certain Ratio,
The Flesh Eaters,
Michelle Simonal,
Underground Resistance,
Joensuu 1685,
Jerry Gold Smith,
The Grass Roots,
Eddi Front,
Crash Course in Science,
U.S. Maple,
The Royal Family And The Poor,
The Cowsills,
Terror Squad Feat. Camron,
Monks,
Vainqueur,
Sarah Menescal,
Radiopuhelimet,
L. Decosne,
Trumans Water,
Ice-T,
Heavy D & The Boyz,
Crooked Eye,
Arcadia,
The West Coast Pop Art Experimental Band,
Hoover,
Marshall Jefferson,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.