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 Marshall Islands and from Bremen.
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 1970.
I'm losing my edge.
To all the kids in Beijing and Milan.
I'm losing my edge to the art-school Mexico City 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 clarinet 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 Lee Hazlewood to the funk kids.
I played it at Cafe Wha.
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 One Last Wish. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Roy Ayers Ubiquity,
Brass Construction,
Scratch Acid,
Faust,
Pet Shop Boys,
The Leaves,
Quadrant,
Dr. Dre and Snoop Doggy Dog,
Pierre Henry,
Hashim,
Terry Callier,
The Electric Prunes,
Crooked Eye,
The Golliwogs,
Cal Tjader,
Lyres,
Robert Görl,
The Fugs,
Main Source,
The Invisible,
Sticky Fingaz feat. Raekwon,
Boogie Down Productions,
James White and The Blacks,
Masters at Work,
Angry Samoans,
Rekid,
Max Romeo,
It's A Beautiful Day,
Roxy Music,
Black Pus,
Gil Scott-Heron and Jamie xx,
Marshall Jefferson,
Derrick May,
Gabor Szabo,
Lucky Dragons,
Kerrie Biddell,
Rahsaan Roland Kirk,
Con Funk Shun,
The Wake,
Vladislav Delay,
A Certain Ratio,
The Blackbyrds,
Sparks,
Country Joe & The Fish,
Avey Tare's Slasher Flicks,
Avey Tare & Kría Brekkan,
Todd Rundgren,
Prince Buster,
Orchestral Manoeuvres in the Dark,
The Motions,
Liaisons Dangereuses,
Bauhaus,
Massinfluence,
Soulsonic Force,
Severed Heads,
Dual Sessions,
Zero Boys,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.