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 Turkmenistan and from Madrid.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 organ sounds with much patience.
I was there when Donald Fagen 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 Glambeats Corp. to the grime 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 Stockholm Monsters. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Clear Light 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Sexual Harrassment,
Be Bop Deluxe,
The Monks,
Gang of Four,
Von Mondo,
The Walker Brothers,
Cal Tjader,
Black Moon,
Jesper Dahlback,
This Heat,
E-Dancer,
Red Lorry Yellow Lorry,
Arthur Verocai,
Gang Green,
The Grass Roots,
Easy Going,
Louis and Bebe Barron,
Lou Reed & John Cale,
Negative Approach,
Ultravox,
Ornette Coleman,
Slick Rick,
Rod Modell,
Nick Cave & The Bad Seeds,
Kings Of Tomorrow,
Boz Scaggs,
Procol Harum,
Simply Red,
Motorama,
Bang on a Can All-Stars,
The Happenings,
The Move,
Maleditus Sound,
Tommy Roe,
The Alarm Clocks,
Boogie Down Productions,
The Tremeloes,
Tears for Fears,
Bootsy Collins,
Pere Ubu,
Public Image Ltd.,
The Invisible,
The Standells,
the Association,
Thompson Twins,
Alton Ellis,
Matthew Halsall,
Unrelated Segments,
The J.B.'s,
Amon Düül,
Pharaoh Sanders and the Fire Engines,
Ten City,
Sonic Youth,
Art Ensemble Of Chicago,
Severed Heads,
Avey Tare & Kría Brekkan,
The Detroit Cobras,
Fear,
Alphaville,
John Lydon,
Adolescents,
Lyres, Lyres, Lyres, Lyres.
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.