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 San Marino and from Glasgow.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Eddi Front to the crunk kids.
I played it at the Hacienda.
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 Reagan Youth. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every The Misunderstood 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 '50s cut and another box set from the '80s.
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 James Chance & The Contortions record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Alison Limerick,
Kaleidoscope,
Lakeside,
Ituana,
Trumans Water,
The Raincoats,
Duran Duran,
Average White Band,
Reuben Wilson,
Excepter,
CMW,
Red Lorry Yellow Lorry,
Erasure,
The Fugs,
The Young Rascals,
Eyeless In Gaza,
Junior Murvin,
The Seeds,
Neil Young,
Laurel Aitken,
Amon Düül,
Ponytail,
Beasts of Bourbon,
Pussy Galore,
Matthew Bourne,
Avey Tare & Kría Brekkan,
Arcadia,
Parry Music,
Country Joe & The Fish,
Brand Nubian,
Roy Ayers,
Joy Division,
The Fall,
DJ Style,
Japan,
Ultramagnetic MC's,
Cybotron,
Cheater Slicks,
Half Japanese,
Flamin' Groovies,
Jerry Gold Smith,
The Invisible,
the Soft Cell,
Marc Almond,
Aural Exciters,
Tropical Tobacco,
The Modern Lovers,
These Immortal Souls,
Archie Shepp,
Johnny Osbourne,
Kango’s Stein Massive,
Pulsallama,
Crash Course in Science,
The Monochrome Set,
Mo-Dettes,
Camouflage,
Ronnie Foster,
Rahsaan Roland Kirk,
The Offenders,
Hasil Adkins,
The Techniques,
June of 44, June of 44, June of 44, June of 44.
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.