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 Algeria and from Delhi.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Beijing.
I'm losing my edge to the art-school Bremen 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 mellotron sounds with much patience.
I was there when David Bowie 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 Michelle Simonal to the grime kids.
I played it at the Spitz.
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 Masters at Work. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every David Bowie 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Moss Icon,
This Heat,
The Skatalites,
Faust,
Angels of Light & Akron/Family,
Joey Negro,
Monks,
The Remains,
kango's stein massive,
Lindisfarne,
Eddi Front,
John Coltrane,
AZ,
Peter Gordon & Love of Life Orchestra,
Clear Light,
LL Cool J,
Siouxsie and the Banshees,
Harpers Bizarre,
Dorothy Ashby,
The Busters,
Lakeside,
Organ,
Roger Hodgson,
Derrick Morgan,
Kayak,
Colin Newman,
Intrusion,
Barbara Tucker,
Yusef Lateef,
Schoolly D,
Orchestral Manoeuvres in the Dark,
Hot Snakes,
Siglo XX,
Audionom,
Alphaville,
Louis and Bebe Barron,
Agitation Free,
Camberwell Now,
Dual Sessions,
The United States of America,
Jesper Dahlbäck,
Ludus,
The Sisters of Mercy,
Slave,
Ohio Players,
Barry Ungar,
The Blackbyrds,
UT,
Minutemen,
Lee Hazlewood,
June of 44,
Black Flag,
Janne Schatter,
The Gap Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Grey Daturas,
A Flock of Seagulls,
The Modern Lovers,
The Young Rascals,
Cybotron,
Radiopuhelimet,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.