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 Poland and from Cairo.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Manila and Sao Paulo.
I'm losing my edge to the art-school Winnipeg 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Peter & Gordon to the jazz 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 Slits. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Ohio Players,
Man Parrish,
Todd Rundgren,
Soft Machine,
Nation of Ulysses,
Aaron Thompson,
John Holt,
Gian Franco Pienzio,
The Buckinghams,
Richard Hell and the Voidoids,
Boz Scaggs,
Jesper Dahlback,
Mo-Dettes,
Lightning Bolt,
Deepchord,
Scott Walker,
Jacob Miller,
Johnny Osbourne,
Crooked Eye,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gun Club,
Liaisons Dangereuses,
Bobby Byrd,
Sonny Sharrock,
Avey Tare,
Anakelly,
Scott Walker + Sunn O))),
Spandau Ballet,
Joyce Sims,
Delta 5,
Ken Boothe,
The Mighty Diamonds,
Das Ding,
Stiv Bators,
Reuben Wilson,
Echospace,
Gil Scott-Heron & Brian Jackson,
Maurizio,
Bronski Beat,
the Normal,
The Slackers,
The Pop Group,
Grandmaster Flash,
Rosa Yemen,
Matthew Halsall,
Newcleus,
Nirvana,
Don Cherry,
Kings Of Tomorrow,
the Bar-Kays,
The Moleskins,
These Immortal Souls,
Angry Samoans,
Eric Dolphy,
Skriet,
Minny Pops,
Laurel Aitken,
Babytalk,
Stockholm Monsters,
Leonard Cohen,
Pussy Galore,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.