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 Tuvalu and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1979.
I'm losing my edge.
To all the kids in Cairo and Edmonton.
I'm losing my edge to the art-school London 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 808 sounds with much patience.
I was there when Lou Reed 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 Jerry Gold Smith to the techno 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 The Knickerbockers. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Laurel Aitken,
a-ha,
James Chance & The Contortions,
Danielle Patucci,
Parry Music,
Babytalk,
Joey Negro,
Joe Finger,
Barclay James Harvest,
The United States of America,
Sun Ra,
Peter & Gordon,
The Divine Comedy,
Kango’s Stein Massive,
Richard Hell and the Voidoids,
Warren Ellis,
Pantytec,
Bizarre Inc.,
Echo & the Bunnymen,
Gil Scott-Heron & Brian Jackson,
The Remains,
Major Organ And The Adding Machine,
Marvin Gaye,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Jesus and Mary Chain,
Man Parrish,
Roger Hodgson,
Nico,
Aural Exciters,
Bill Wells,
Nirvana,
Eyeless In Gaza,
Deadbeat,
Marc Romboy vs. Booka Shade,
Traffic Nightmare,
Letta Mbulu,
Wally Richardson,
The Martian,
Bill Near,
X-Ray Spex,
Vainqueur,
Pantaleimon,
Ronnie Foster,
Dorothy Ashby,
The Move,
The Monochrome Set,
Procol Harum,
Stetsasonic,
Livin' Joy,
Tomorrow,
The Skatalites,
Jerry Gold Smith,
Bobbi Humphrey,
Fad Gadget,
Sister Nancy,
Eric B and Rakim,
Lou Reed & John Cale,
Black Flag,
Lyres,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.