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 Portugal and from Tokyo.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Milan and Halifax.
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 Tom Verlaine 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 Kango’s Stein Massive to the punk 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 New York Dolls. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Siglo XX,
The Slits,
The Leaves,
The Men They Couldn't Hang,
Crash Course in Science,
Kauko Röyhkä ja Narttu,
Gary Puckett & The Union Gap,
Erasure,
Fatback Band,
Audionom,
Chris & Cosey,
The Birthday Party,
Camouflage,
Dawn Penn,
KRS-One,
Angels of Light & Akron/Family,
Grey Daturas,
Sister Nancy,
Avey Tare,
the Soft Cell,
Cabaret Voltaire,
June of 44,
The Fall,
Anakelly,
Todd Terry,
Negative Approach,
Pulsallama,
Maleditus Sound,
The Doors,
Wolf Eyes,
Darondo,
The Gun Club,
World's Most,
The Seeds,
Reuben Wilson,
Bobby Byrd,
Notorious BIG live in Amsterdam,
Neu!,
The Offenders,
Judy Mowatt,
Piero Umiliani,
Tommy Roe,
The Mummies,
Lungfish,
Sällskapet,
The Mojo Men,
Simply Red,
the Sonics,
The Gories,
U.S. Maple,
DJ Sneak,
Funkadelic,
Jerry's Kids,
Rotary Connection,
Scan 7,
K-Klass,
Eyeless In Gaza,
ABBA,
D'Angelo,
Crooked Eye,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.