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 Montenegro and from Tehran.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Tehran and Woodstock.
I'm losing my edge to the art-school Accra 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 oboe sounds with much patience.
I was there when David Bowie 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 Mary Jane Girls to the rap kids.
I played it at the Troubador.
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 Nick Fraelich. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Stereo Dub,
Trumans Water,
Motorama,
Royal Trux,
Orchestral Manoeuvres in the Dark,
Traffic Nightmare,
Eyeless In Gaza,
FM Einheit,
Crispian St. Peters,
Dr. Dre and Snoop Doggy Dog,
Man Parrish,
Sad Lovers and Giants,
New Age Steppers,
The Modern Lovers,
B.T. Express,
Fear,
the Soft Cell,
The Litter,
The Buckinghams,
Monks,
La Düsseldorf,
Siouxsie and the Banshees,
Pagans,
Gary Puckett & The Union Gap,
Lee Hazlewood,
Albert Ayler,
Camouflage,
The Men They Couldn't Hang,
Wally Richardson,
Barbara Tucker,
LL Cool J,
Lizzy Mercier Descloux,
Scott Walker,
Grandmaster Flash and the Furious Five,
Bill Near,
Tom Boy,
Mars,
Camberwell Now,
Quando Quango,
Barrington Levy,
The Mummies,
Jeff Mills,
Gang Starr,
The Fall,
Girls At Our Best!,
The Blackbyrds,
Avey Tare & Kría Brekkan,
The Vogues,
Black Sheep,
June Days,
The Misunderstood,
Little Man,
Ultravox,
The Motions,
Gil Scott-Heron & Brian Jackson,
Byron Stingily,
The Selecter,
Yellowson,
The Gun Club,
The Toasters,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.