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 Azerbaijan and from Calgary.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Toronto 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Connie Case to the grunge 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 Judy Mowatt. All the underground hits.
All PIL tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Harpers Bizarre,
R.M.O.,
D'Angelo,
AZ,
The Velvet Underground,
Art Ensemble Of Chicago,
Lightning Bolt,
Mark Hollis,
The Techniques,
Roxette,
Pete Rock & C.L. Smooth,
Ultramagnetic MC's,
Stetsasonic,
Prince Buster,
Absolute Body Control,
Pere Ubu,
Pharaoh Sanders and the Fire Engines,
Eden Ahbez,
Scott Walker + Sunn O))),
The Leaves,
The West Coast Pop Art Experimental Band,
Liliput,
John Foxx,
The Barracudas,
Hashim,
Yusef Lateef,
Alice Coltrane,
Laurel Aitken,
Peter & Gordon,
Wolf Eyes,
Motorama,
Yazoo,
Aaron Thompson,
Barrington Levy,
T.S.O.L.,
The Gories,
Grey Daturas,
Bootsy Collins,
the Human League,
The Slits,
The Doobie Brothers,
Rhythm & Sound,
KRS-One,
Radiopuhelimet,
Aloha Tigers,
The Trojans,
Can,
MC5,
Gil Scott Heron,
Gian Franco Pienzio,
Bootsy's Rubber Band,
Dark Day,
Eric Dolphy,
Jandek,
Public Enemy,
Loose Ends,
The Cosmic Jokers,
Sunsets and Hearts,
Echo & the Bunnymen,
Outsiders,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.