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 Ireland and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school Cairo 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 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 Inner City to the grunge kids.
I played it at the Roxy.
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 Half Japanese. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Thompson Twins,
Stockholm Monsters,
The Motions,
Blake Baxter,
The Remains,
Lyres,
Rites of Spring,
The Gap Band,
KRS-One,
The West Coast Pop Art Experimental Band,
Roy Ayers,
Q and Not U,
Model 500,
Juan Atkins,
James White and The Blacks,
L. Decosne,
Marine Girls,
Robert Hood,
Essential Logic,
Don Cherry,
Dual Sessions,
The Neon Judgement,
Ten City,
Chris Corsano,
The Slackers,
The Kinks,
Red Lorry Yellow Lorry,
Smog,
Patti Smith,
Monolake,
Liliput,
Kenny Larkin,
Pussy Galore,
A Certain Ratio,
Massinfluence,
Ohio Players,
Amon Düül II,
Echo & the Bunnymen,
Organ,
Mad Mike,
Bootsy's Rubber Band,
Ronnie Foster,
Junior Murvin,
Fear,
Liaisons Dangereuses,
Richard Hell and the Voidoids,
Man Eating Sloth,
Todd Rundgren,
Bobby Byrd,
Bush Tetras,
Rapeman,
The Mighty Diamonds,
Barclay James Harvest,
Gang Starr,
kango's stein massive,
Kas Product,
Youth Brigade,
Black Flag,
Das Ding,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.