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 India and from Paris.
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 1972.
I'm losing my edge.
To all the kids in Lagos and Bologna.
I'm losing my edge to the art-school Mumbai 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 theremin sounds with much patience.
I was there when Lou Reed 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 Richard Hell and the Voidoids to the electroclash 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 John Lydon. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Sarah Menescal 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Electric Light Orchestra,
James White and The Blacks,
Graham Central Station,
Groovy Waters,
Simply Red,
The Zeros,
Audionom,
48th St. Collective,
MC5,
The Seeds,
Eric B and Rakim,
Rufus Thomas,
Davy DMX,
Deakin,
Sällskapet,
Royal Trux,
John Lydon,
Unwound,
The West Coast Pop Art Experimental Band,
Lalann,
The Smiths,
Man Parrish,
Eyeless In Gaza,
Eurythmics,
Soft Cell,
Ludus,
The Alarm Clocks,
Susan Cadogan,
AZ,
Kings Of Tomorrow,
The Blues Magoos,
Moby Grape,
In Retrospect,
The Divine Comedy,
A Certain Ratio,
Q65,
The Sound,
Y Pants,
Fear,
Arab on Radar,
Ornette Coleman,
The American Breed,
Chris & Cosey,
Outsiders,
Yaz,
De La Soul & Jungle Brothers,
The Barracudas,
Talk Talk,
Be Bop Deluxe,
Rosa Yemen,
Aural Exciters,
The Vogues,
Girls At Our Best!,
Charles Mingus,
Loose Ends,
The Monks,
Interpol,
Bob Dylan,
The Monochrome Set,
the Bar-Kays,
Das Ding,
Al Stewart,
Neil Young, Neil Young, Neil Young, Neil Young.
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.