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 New Zealand and from Houston.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Edmonton 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Jesper Dahlbäck to the jazz kids.
I played it at the Hacienda.
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 Sparks. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Vladislav Delay,
the Association,
Pharoah Sanders,
Newcleus,
Mr. Review,
Little Man,
The Slackers,
Gary Puckett & The Union Gap,
Amazonics,
Magma,
Boogie Down Productions,
Slick Rick,
JFA,
Soft Cell,
The Names,
Khruangbin,
The Techniques,
Eli Mardock,
Angry Samoans,
Young Marble Giants,
AZ,
Nas,
Popol Vuh,
The Smiths,
Major Organ And The Adding Machine,
Minor Threat,
Todd Terry,
The Flesh Eaters,
The Peanut Butter Conspiracy,
Ohio Players,
Model 500,
The Moleskins,
R.M.O.,
Judy Mowatt,
Kayak,
Curtis Mayfield,
Chris & Cosey,
David Axelrod,
Juan Atkins,
Don Cherry,
Grey Daturas,
The Wake,
The Selecter,
Danielle Patucci,
Flamin' Groovies,
John Lydon,
Slave,
Duran Duran,
The Knickerbockers,
The Move,
Gastr Del Sol,
The Vogues,
Cluster,
Pole,
The Young Rascals,
Malaria!,
Trumans Water,
Severed Heads,
Main Source,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.