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 Kuwait and from Lagos.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
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 theremin sounds with much patience.
I was there when Holger Czukay 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 Brand Nubian to the dance 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 The Cosmic Jokers. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Tommy Roe record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Davy DMX,
Eric Copeland,
Nik Kershaw,
Gian Franco Pienzio,
Qualms,
Vaughan Mason & Crew,
Roxy Music,
The Velvet Underground,
Scratch Acid,
Cabaret Voltaire,
The Invisible,
The Royal Family And The Poor,
Chris & Cosey,
John Cale,
Alphaville,
Ash Ra Tempel,
Bauhaus,
Gregory Isaacs,
Throbbing Gristle,
the Sonics,
David Bowie,
Japan,
Idris Muhammad,
The Sound,
Kas Product,
The Motions,
Flipper,
A Certain Ratio,
Bobby Womack,
June of 44,
Faust,
Kauko Röyhkä ja Narttu,
The Techniques,
The Monochrome Set,
PIL,
Cal Tjader,
Terror Squad Feat. Camron,
The Barracudas,
Magazine,
The Young Rascals,
Babytalk,
Anakelly,
Infiniti,
Severed Heads,
Alice Coltrane,
Rites of Spring,
Ultravox,
Q65,
Connie Case,
Al Stewart,
Bang on a Can All-Stars,
The Chocolate Watch Band,
X-101,
Radiopuhelimet,
Bobbi Humphrey,
The Count Five,
Graham Central Station,
The Peanut Butter Conspiracy,
Audionom,
The Divine Comedy,
The Busters, The Busters, The Busters, The Busters.
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.