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 Oman and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Salvador 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 Captain Beefheart 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 Moody Blues to the rap 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 Motorama. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
The Slits,
John Lydon,
Idris Muhammad,
ABBA,
Strawberry Alarm Clock,
Quantec,
Flipper,
Black Moon,
Lakeside,
Minutemen,
Fifty Foot Hose,
Ossler,
Avey Tare's Slasher Flicks,
The Selecter,
The Modern Lovers,
Bobbi Humphrey,
Joe Finger,
Girls At Our Best!,
Infiniti,
Scientists,
Manfred Mann's Earth Band,
Lebanon Hanover,
Terry Callier,
Robert Görl,
The Royal Family And The Poor,
Spandau Ballet,
Agent Orange,
Pulsallama,
Mandrill,
James White and The Blacks,
Throbbing Gristle,
Swans,
Amon Düül,
Matthew Halsall,
John Foxx,
Derrick May,
Gang Gang Dance,
The American Breed,
Scott Walker,
Adolescents,
Letta Mbulu,
E-Dancer,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Moleskins,
Jeff Mills,
Amazonics,
Glambeats Corp.,
Hashim,
Fat Boys,
Piero Umiliani,
Trumans Water,
Justin Hinds & The Dominoes,
AZ,
Charles Mingus,
DNA,
Wolf Eyes,
Bronski Beat,
Lou Reed & John Cale,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.