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 East Timor and from Manila.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
I'm losing my edge to the art-school Lyon 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 chamberlin 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 The Busters to the disco kids.
I played it at the Troubador.
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 Dave Clark Five. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Rites of Spring,
L. Decosne,
Ultravox,
In Retrospect,
Derrick Morgan,
The Sound,
Tears for Fears,
The Neon Judgement,
Intrusion,
Symarip,
Motorama,
Robert Görl,
Lou Reed & Metallica,
Prince Buster,
B.T. Express,
Lalann,
Stiv Bators,
Angels of Light & Akron/Family,
Second Layer,
Quantec,
Grandmaster Flash and the Furious Five,
the Germs,
Sex Pistols,
Gang Gang Dance,
Surgeon,
Rhythim Is Rhythim,
Sister Nancy,
Johnny Osbourne,
Black Moon,
MC5,
The Pop Group,
Deakin,
Cluster,
Roger Hodgson,
Harry Pussy,
Pantaleimon,
Lou Reed & John Cale,
The Buckinghams,
Cal Tjader,
Robert Hood,
DJ Sneak,
Black Pus,
Neil Young,
Deutsch Amerikanische Freundschaft,
Bauhaus,
Ice-T,
Alton Ellis,
The Monks,
Pylon,
Popol Vuh,
Flash Fearless,
a-ha,
Agent Orange,
Ludus,
Organ,
David Axelrod,
Johnny Clarke,
the Human League,
Crash Course in Science,
The Remains,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.