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 Liechtenstein and from Accra.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school Portland 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 organ sounds with much patience.
I was there when Michael McDonald 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 Minnie Riperton to the punk 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 Manfred Mann's Earth Band. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Visage,
Fluxion,
Circle Jerks,
Gastr Del Sol,
Eddi Front,
James Chance & The Contortions,
T. Rex,
Black Flag,
Black Bananas,
The Cramps,
Joe Smooth,
Red Lorry Yellow Lorry,
The Remains,
Deepchord,
Peter Gordon & Love of Life Orchestra,
Flash Fearless,
Glambeats Corp.,
Albert Ayler,
Funkadelic,
Dave Gahan,
Steve Hackett,
Nirvana,
Bizarre Inc.,
Röyhkä ja Rättö ja Lehtisalo,
Japan,
Crime,
Nils Olav,
Roxy Music,
Johnny Osbourne,
cv313,
The Monochrome Set,
Kerrie Biddell,
Sparks,
Ronan,
Skarface,
Robert Hood,
London Community Gospel Choir,
Lou Reed & Metallica,
Theoretical Girls,
The Blackbyrds,
Con Funk Shun,
Faust,
Camberwell Now,
Adolescents,
Scrapy,
Q and Not U,
The Golliwogs,
Neu!,
Ludus,
June Days,
Ken Boothe,
Terrestrial Tones,
Aaron Thompson,
Leonard Cohen,
Kas Product,
Spandau Ballet,
Carl Craig,
U.S. Maple,
Blossom Toes,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.