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 Mongolia and from Philadelphia.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 rhodes 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 Sandy B to the crunk 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 Suburban Knight. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal grime 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Cybotron,
Roxette,
Lou Reed & Metallica,
Cal Tjader,
kango's stein massive,
John Foxx,
Camron Feat. Memphis Bleek And Beenie Seigel,
Model 500,
Sam Rivers,
The Cowsills,
Joensuu 1685,
Mars,
Harry Pussy,
Eyeless In Gaza,
Cluster,
B.T. Express,
The New Christs,
The Pretty Things,
Stiv Bators,
Agitation Free,
Nation of Ulysses,
Mission of Burma,
Junior Murvin,
Hasil Adkins,
Jacques Brel,
Schoolly D,
John Cale,
Freddie Wadling,
Eurythmics,
Warsaw,
Richard Hell and the Voidoids,
Suburban Knight,
Q and Not U,
Isaac Hayes,
Fat Boys,
The Sound,
Quantec,
The Offenders,
The Shadows of Knight,
Janne Schatter,
Spoonie Gee,
Kool Moe Dee,
a-ha,
the Human League,
Inner City,
Circle Jerks,
Reuben Wilson,
Eve St. Jones,
Index,
Wally Richardson,
Oblivians,
Eric Copeland,
Excepter,
Tommy Roe,
The Modern Lovers,
Bobby Byrd,
Parry Music,
Porter Ricks,
In Retrospect,
Soul Sonic Force,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.