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 St Lucia and from Accra.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Lille 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 808 sounds with much patience.
I was there when Donald Fagen 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 Model 500 to the funk 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 Invisible. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Gang Green,
Sällskapet,
Easy Going,
Brothers Johnson,
Pharaoh Sanders and the Fire Engines,
Negative Approach,
Strawberry Alarm Clock,
Unrelated Segments,
Reagan Youth,
Ajijia Myrayebe,
Crime,
The Motions,
John Holt,
Gastr Del Sol,
Big Daddy Kane,
Surgeon,
Derrick Morgan,
The Peanut Butter Conspiracy,
Sixth Finger,
Main Source,
Ken Boothe,
Eric Dolphy,
Roxette,
Terry Callier,
ABBA,
Niagra,
Bobby Womack,
Larry & the Blue Notes,
Jacob Miller,
Marmalade,
Dawn Penn,
Matthew Bourne,
Los Fastidios,
The Associates,
Bang on a Can All-Stars,
D'Angelo,
Funkadelic,
Radio Birdman,
The Fuzztones,
Spoonie Gee,
Sly & The Family Stone,
Mr. Review,
Minnie Riperton,
Monks,
The Toasters,
The Angels of Light,
Radiohead,
Ohio Players,
Black Pus,
Thinking Fellers Union Local 282,
Brick,
Aural Exciters,
Ossler,
The American Breed,
The Gun Club,
Hoover,
The Flesh Eaters,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.