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 Paraguay and from Mexico City.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Columbus and Glasgow.
I'm losing my edge to the art-school Beijing 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 sitar 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 Danielle Patucci to the techno 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 Arcadia. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal dance 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 organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar 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 Gap Band,
Bootsy's Rubber Band,
the Association,
Deadbeat,
Prince Buster,
Ronan,
Parry Music,
Delon & Dalcan,
Ash Ra Tempel,
The Pop Group,
Vladislav Delay,
Blake Baxter,
The Men They Couldn't Hang,
Moss Icon,
Simply Red,
Cluster,
New York Dolls,
Soft Cell,
Dead Boys,
Howard Jones,
Tomorrow,
Art Ensemble Of Chicago,
Aaron Thompson,
Severed Heads,
Curtis Mayfield,
Mark Hollis,
James White and The Blacks,
Con Funk Shun,
CMW,
The Fire Engines,
In Retrospect,
Kerri Chandler,
Angry Samoans,
Richard Hell and the Voidoids,
Second Layer,
Sällskapet,
8 Eyed Spy,
Steve Hackett,
Newcleus,
Accadde A,
Jesper Dahlback,
Spandau Ballet,
The Real Kids,
Kenny Larkin,
Lucky Dragons,
David McCallum,
Panda Bear,
Bluetip,
The Searchers,
Television Personalities,
Black Moon,
Wolf Eyes,
The Victims,
Crooked Eye,
The Remains,
Moebius,
Joe Smooth,
The Standells,
Darondo,
Aloha Tigers,
Toni Rubio,
Can, Can, Can, Can.
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.