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 Djibouti and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1975.
I'm losing my edge.
To all the kids in New York and Calgary.
I'm losing my edge to the art-school Bologna 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Duran Duran to the rock kids.
I played it at the Astoria.
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 Cameo. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Joe Finger,
Ohio Players,
Harpers Bizarre,
Pete Rock & C.L. Smooth,
Girls At Our Best!,
Donald Byrd,
David McCallum,
Ornette Coleman,
The Wake,
Hot Snakes,
Bizarre Inc.,
Monks,
The Moleskins,
Ultra Naté,
Funky Four + One,
Ten City,
Q and Not U,
The Doobie Brothers,
Desert Stars,
Babytalk,
Spandau Ballet,
Kaleidoscope,
Terror Squad Feat. Camron,
JFA,
Robert Wyatt,
Gil Scott-Heron and Jamie xx,
Pere Ubu,
Wolf Eyes,
Shuggie Otis,
Loose Ends,
the Germs,
Section 25,
Freddie Wadling,
Underground Resistance,
Malaria!,
Rhythm & Sound,
CMW,
The Standells,
Gary Puckett & The Union Gap,
ABBA,
Yazoo,
The Cure,
Surgeon,
Red Lorry Yellow Lorry,
Ultimate Spinach,
Agent Orange,
Kauko Röyhkä ja Narttu,
The Durutti Column,
Gil Scott-Heron & Brian Jackson,
Rufus Thomas,
UT,
Sound Behaviour,
Jesper Dahlback,
The Gladiators,
Roy Ayers,
Brass Construction,
Eden Ahbez,
Gerry Rafferty,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.