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 France and from Milan.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Calgary and Cairo.
I'm losing my edge to the art-school Philadelphia 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 spring reverb 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 The United States of America to the grime 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 Dark Day. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Eli Mardock,
Kerrie Biddell,
The Slackers,
New Order,
Jimmy McGriff,
Jandek,
Sound Behaviour,
Panda Bear,
Pole,
David Axelrod,
Popol Vuh,
Maleditus Sound,
Peter & Gordon,
Al Stewart,
Lalo Schifrin,
The Detroit Cobras,
Kevin Saunderson,
Zapp,
Hardrive,
PIL,
Chris & Cosey,
Andrew Ashong & Theo Parrish,
Barry Ungar,
Ten City,
Terrestrial Tones,
Oblivians,
Warsaw,
The Misunderstood,
Rekid,
Black Moon,
The Cosmic Jokers,
Aloha Tigers,
Oppenheimer Analysis,
Jesper Dahlback,
David McCallum,
The Star Department,
Soulsonic Force,
X-101,
U.S. Maple,
Mission of Burma,
Intrusion,
Joe Finger,
Eurythmics,
Unrelated Segments,
Lalann,
Gabor Szabo,
Loose Ends,
Kango’s Stein Massive,
The Beau Brummels,
Danielle Patucci,
Soul II Soul,
Aswad,
James White and The Blacks,
X-102,
The Smoke,
Lightning Bolt,
Tropical Tobacco,
Sonny Sharrock,
The Five Americans,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.