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 Guinea-Bissau and from Delhi.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Beijing and Paris.
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 rhodes 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 8 Eyed Spy to the rock 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 Cabaret Voltaire. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Peter Gordon & Love of Life Orchestra,
Lower 48,
Alton Ellis,
The Zeros,
Sparks,
Suicide,
Trumans Water,
Leonard Cohen,
Derrick Morgan,
The Music Machine,
Colin Newman,
Kerri Chandler,
Thinking Fellers Union Local 282,
Tomorrow,
Deepchord,
Index,
Bush Tetras,
The Leaves,
Jacques Brel,
World's Most,
La Düsseldorf,
Visionaries,LMNO, T- Love & Iriscience,
Dawn Penn,
Kaleidoscope,
The Martian,
Lakeside,
Technova,
Pete Rock & C.L. Smooth,
Youth Brigade,
Warsaw,
Gong,
Gil Scott-Heron and Jamie xx,
The Modern Lovers,
Black Bananas,
The Pretty Things,
Gastr Del Sol,
Godley & Creme,
Minor Threat,
Camouflage,
Dark Day,
Slick Rick,
Tears for Fears,
Amazonics,
Harpers Bizarre,
The Dave Clark Five,
Barbara Tucker,
Alphaville,
Vaughan Mason & Crew,
The Fire Engines,
Jeru the Damaja,
Jimmy McGriff,
Zapp,
Darondo,
The Durutti Column,
Ronan,
The Knickerbockers,
a-ha,
UT,
Howard Jones,
Jeff Mills,
Art Ensemble Of Chicago,
Lebanon Hanover,
MC5, MC5, MC5, MC5.
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.