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 Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1970.
I'm losing my edge.
To all the kids in Madrid and Tehran.
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 güiro 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 Suburban Knight to the disco 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 Minnie Riperton. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Con Funk Shun,
The Modern Lovers,
The West Coast Pop Art Experimental Band,
The Fire Engines,
Fat Boys,
Rhythim Is Rhythim,
John Lydon,
the Fania All-Stars,
Shuggie Otis,
The Grass Roots,
Make Up,
Reagan Youth,
Skaos,
Mars,
The Blackbyrds,
New Age Steppers,
Ultramagnetic MC's,
Dark Day,
Cecil Taylor,
The Beau Brummels,
Lee Hazlewood,
The Cosmic Jokers,
Bootsy's Rubber Band,
DJ Style,
The Techniques,
Scott Walker,
Kevin Saunderson,
Japan,
Kerri Chandler,
The Invisible,
The Fortunes,
Radiohead,
Matthew Halsall,
Johnny Clarke,
Slick Rick,
The Standells,
Dual Sessions,
John Cale,
Chris & Cosey,
Pet Shop Boys,
The Wake,
The Kinks,
48th St. Collective,
Grauzone,
The Moleskins,
The Sonics,
Delon & Dalcan,
the Bar-Kays,
Oblivians,
The Fall,
Black Pus,
Lalann,
Ultravox,
Gerry Rafferty,
Lou Reed & Metallica,
Judy Mowatt,
Oppenheimer Analysis,
The Happenings,
Fela Kuti,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.