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 Niger and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1975.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school Milan 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 Mars to the grunge 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 New Order. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye 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?
The Monochrome Set,
Lower 48,
Roxy Music,
The Star Department,
Wally Richardson,
Nirvana,
ABC,
The Cowsills,
Kool Moe Dee,
Tommy Roe,
Jeff Mills,
Eric B and Rakim,
Guru Guru,
Funkadelic,
Bobbi Humphrey,
Sad Lovers and Giants,
The Barracudas,
Excepter,
The Fuzztones,
Delon & Dalcan,
Danielle Patucci,
Vainqueur,
Drexciya,
Cabaret Voltaire,
Bang on a Can All-Stars,
Jimmy McGriff,
Faraquet,
World's Most,
Glenn Branca,
10cc,
Godley & Creme,
Second Layer,
Model 500,
Moebius,
Angry Samoans,
Gong,
The Names,
A Flock of Seagulls,
Lebanon Hanover,
The Neon Judgement,
Mary Jane Girls,
Bill Wells,
Lungfish,
The Beau Brummels,
The Chocolate Watch Band,
Kas Product,
D'Angelo,
Soft Cell,
Alison Limerick,
Manfred Mann's Earth Band,
Alice Coltrane,
ABBA,
Babytalk,
The Vogues,
Max Romeo,
Art Ensemble Of Chicago,
Wire,
The Moleskins,
the Fania All-Stars,
Henry Cow,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.