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 Denmark and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Delhi.
I'm losing my edge to the art-school Bologna 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 mellotron 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 The Star Department to the disco kids.
I played it at the Roxy.
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 Bronski Beat. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
James Chance & The Contortions,
Blancmange,
Lower 48,
Lou Reed & John Cale,
The Real Kids,
The Pretty Things,
Bronski Beat,
Quantec,
the Sonics,
Albert Ayler,
Das Ding,
Kas Product,
Bobby Hutcherson,
Susan Cadogan,
Subhumans,
U.S. Maple,
Roxette,
Lungfish,
JFA,
Urselle,
Scott Walker + Sunn O))),
Major Organ And The Adding Machine,
Neu!,
Nick Cave & The Bad Seeds,
Funky Four + One,
Graham Central Station,
Mandrill,
Don Cherry,
Swell Maps,
Manfred Mann's Earth Band,
Cameo,
The Fugs,
the Germs,
Livin' Joy,
Mr. Review,
Darondo,
John Lydon,
Archie Shepp,
Animal Collective,
Gerry Rafferty,
Johnny Clarke,
Moebius,
Sonny Sharrock,
Andrew Hill,
Howard Jones,
The Alarm Clocks,
Los Fastidios,
Fluxion,
Sixth Finger,
Grandmaster Flash and the Furious Five,
Icehouse,
Stetsasonic,
X-Ray Spex,
Gabor Szabo,
The Index,
OOIOO,
Minutemen,
Lebanon Hanover,
Frankie Knuckles,
Matthew Bourne,
Crime,
Leonard Cohen,
Model 500, Model 500, Model 500, Model 500.
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.