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 Sweden and from Spokane.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Tehran.
I'm losing my edge to the art-school Houston 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 rhodes 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 Lafayette Afro Rock Band to the techno 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 The Barracudas. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Deadbeat 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 '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Tommy Roe record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Con Funk Shun,
The Happenings,
Pharoah Sanders,
Talk Talk,
Red Lorry Yellow Lorry,
Zapp,
Organ,
John Foxx,
Marmalade,
Brass Construction,
cv313,
Scott Walker + Sunn O))),
Television,
Severed Heads,
Magazine,
The Pop Group,
The Skatalites,
The Music Machine,
Crispy Ambulance,
Ultravox,
Quando Quango,
Henry Cow,
Ronan,
Justin Hinds & The Dominoes,
Kango’s Stein Massive,
Vladislav Delay,
Freddie Wadling,
Theoretical Girls,
Panda Bear,
Parry Music,
Toni Rubio,
Michelle Simonal,
Avey Tare & Kría Brekkan,
Flamin' Groovies,
ABC,
Brothers Johnson,
Hashim,
D'Angelo,
Wasted Youth,
Sad Lovers and Giants,
EPMD,
Lee Hazlewood,
John Holt,
Gabor Szabo,
Godley & Creme,
World's Most,
Saccharine Trust,
Gichy Dan,
Oppenheimer Analysis,
X-101,
Motorama,
Eddi Front,
the Normal,
Man Eating Sloth,
Bizarre Inc.,
Marine Girls,
MC5,
Average White Band,
Scratch Acid,
Drexciya,
Franke,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.