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 Palau and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Calgary.
I'm losing my edge to the art-school Woodstock 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 organ 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 Anakelly to the techno kids.
I played it at the 40 Watt.
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 Siouxsie and the Banshees. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dave Gahan,
the Swans,
Flipper,
Boogie Down Productions,
The Gun Club,
Fugazi,
Rod Modell,
Lalann,
It's A Beautiful Day,
Ronnie Foster,
Nas,
Jerry Gold Smith,
Icehouse,
A Flock of Seagulls,
Gil Scott-Heron and Jamie xx,
The Blackbyrds,
Freddie Wadling,
The Smiths,
Wings,
Livin' Joy,
The Invisible,
Todd Rundgren,
Hot Snakes,
Suburban Knight,
Notorious Big And Bone Thugs,
Tom Boy,
Electric Prunes,
A Certain Ratio,
The Royal Family And The Poor,
Fort Wilson Riot,
Malaria!,
Roxette,
Ludus,
Scion,
Barclay James Harvest,
Interpol,
Sparks,
Stiv Bators,
Reagan Youth,
New York Dolls,
Sugar Minott,
Pulsallama,
Cameo,
T.S.O.L.,
Smog,
The Smoke,
The Chocolate Watch Band,
Rhythm & Sound,
Circle Jerks,
The Motions,
Bronski Beat,
Subhumans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Crispian St. Peters,
Soul II Soul,
Bill Wells,
Lafayette Afro Rock Band,
The Monochrome Set,
Japan,
James White and The Blacks,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.