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 Liberia and from Philadelphia.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Spokane.
I'm losing my edge to the art-school Lille 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Alison Limerick to the funk 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 Fad Gadget. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every The Monks 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June of 44,
the Slits,
The Dirtbombs,
Grandmaster Flash and the Furious Five,
Hashim,
Television,
Pulsallama,
Ornette Coleman,
Rekid,
Pere Ubu,
The Men They Couldn't Hang,
Gian Franco Pienzio,
The Moleskins,
The Blackbyrds,
Andrew Ashong & Theo Parrish,
Bootsy Collins,
Reuben Wilson,
Oppenheimer Analysis,
Ultra Naté,
Brand Nubian,
Deakin,
Jacques Brel,
Qualms,
Agent Orange,
Ronan,
Josef K,
Pole,
The Motions,
Mary Jane Girls,
Television Personalities,
Animal Collective,
Andrew Hill,
Half Japanese,
Laurel Aitken,
Albert Ayler,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Curtis Mayfield,
Average White Band,
Bobbi Humphrey,
Zapp,
Harmonia,
Quando Quango,
Bill Near,
Bronski Beat,
The Slits,
Pharoah Sanders,
Glenn Branca,
The Smiths,
Black Flag,
Massinfluence,
The Angels of Light,
Excepter,
Flash Fearless,
Marine Girls,
Sun Ra Arkestra,
Aswad,
Icehouse,
Colin Newman,
Ajijia Myrayebe,
The Count Five,
The Divine Comedy,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.