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 Czech Republic and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Beijing and Tehran.
I'm losing my edge to the art-school Shanghai 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Cabaret Voltaire to the techno 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 The Associates. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every The Sound 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Lucky Dragons,
Joey Negro,
Sarah Menescal,
Tim Buckley,
Cybotron,
Average White Band,
Derrick Morgan,
Colin Newman,
Pharaoh Sanders and the Fire Engines,
Robert Görl,
The Human League,
Reagan Youth,
The Cure,
Dawn Penn,
The Wake,
Rhythim Is Rhythim,
Minutemen,
Skaos,
James White and The Blacks,
Dennis Brown,
48th St. Collective,
Roxy Music,
The Martian,
The Move,
Blancmange,
The Doobie Brothers,
Chrome,
Hardrive,
The Cowsills,
The Knickerbockers,
Jimmy McGriff,
Unrelated Segments,
Lightning Bolt,
U.S. Maple,
Rakim,
Siglo XX,
Smog,
Lebanon Hanover,
PIL,
Joyce Sims,
Stiv Bators,
The Fugs,
Kauko Röyhkä ja Narttu,
Sexual Harrassment,
The Pop Group,
Q65,
Nation of Ulysses,
Arab on Radar,
Darondo,
Pere Ubu,
Mary Jane Girls,
Heaven 17,
The Royal Family And The Poor,
Bronski Beat,
Sticky Fingaz feat. Raekwon,
Q and Not U,
Thee Headcoats,
Supertramp,
Robert Hood,
L. Decosne,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.