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 Morocco and from Glasgow.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and Houston.
I'm losing my edge to the art-school Beijing 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Man Parrish to the punk kids.
I played it at Trash.
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 Eric B and Rakim. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal punk 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 a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Jawbox,
X-Ray Spex,
Hardrive,
the Fania All-Stars,
Amazonics,
Fear,
The Pop Group,
Cybotron,
Louis and Bebe Barron,
Brothers Johnson,
T. Rex,
Faust,
Y Pants,
Con Funk Shun,
Teenage Jesus and the Jerks,
Camouflage,
Electric Light Orchestra,
Silicon Teens,
Tubeway Army,
The Chocolate Watch Band,
Orchestral Manoeuvres in the Dark,
Black Sheep,
Half Japanese,
Bad Manners,
Girls At Our Best!,
Altered Images,
Tim Buckley,
Icehouse,
Bobby Hutcherson,
Franke,
Althea and Donna,
Roxy Music,
Sunsets and Hearts,
Average White Band,
Joe Smooth,
Maleditus Sound,
Scott Walker,
Motorama,
The Slits,
Trumans Water,
Eurythmics,
Sonic Youth,
The Beau Brummels,
kango's stein massive,
T.S.O.L.,
The Jesus and Mary Chain,
Albert Ayler,
Traffic Nightmare,
Eyeless In Gaza,
Marshall Jefferson,
Wasted Youth,
Kerrie Biddell,
Brand Nubian,
Terror Squad Feat. Camron,
Ultramagnetic MC's,
Barclay James Harvest,
Skaos,
The Standells,
Captain Beefheart & His Magic Band,
The Human League,
Terrestrial Tones,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.