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 Argentina and from Tehran.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school New York 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 synthesizer 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 T. Rex to the grime kids.
I played it at the Astoria.
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 Peter and Kerry. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Warsaw 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television Personalities,
The Toasters,
Lou Reed,
48th St. Collective,
David McCallum,
Gichy Dan,
Magazine,
Avey Tare's Slasher Flicks,
Funkadelic,
Nik Kershaw,
Erasure,
Roy Ayers,
The Velvet Underground,
Teenage Jesus and the Jerks,
X-Ray Spex,
The Human League,
The Evens,
Animal Collective,
Pierre Henry,
John Cale,
Orchestral Manoeuvres in the Dark,
Kings Of Tomorrow,
Interpol,
The Martian,
Eyeless In Gaza,
Delta 5,
Silicon Teens,
ABBA,
Hashim,
Ornette Coleman,
Surgeon,
T. Rex,
Flash Fearless,
The Leaves,
Girls At Our Best!,
Y Pants,
Isaac Hayes,
New Age Steppers,
Wings,
Negative Approach,
Eurythmics,
Electric Prunes,
Cabaret Voltaire,
The Moleskins,
Trumans Water,
Parry Music,
The Offenders,
Swans,
T.S.O.L.,
Radio Birdman,
Roy Ayers Ubiquity,
Bobby Byrd,
Franke,
Dead Boys,
World's Most,
Popol Vuh,
Sound Behaviour,
Andrew Hill,
Pagans,
Ken Boothe,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.