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 Bangladesh and from Tehran.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Calgary and Bologna.
I'm losing my edge to the art-school Madrid 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 harpsichord 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 the Human League to the techno kids.
I played it at the Astoria.
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 F. McDonald. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal grunge 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 a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Terror Squad Feat. Camron,
Andrew Hill,
Spandau Ballet,
Sunsets and Hearts,
Roy Ayers,
Crime,
The Slackers,
Archie Shepp,
Matthew Halsall,
Kauko Röyhkä ja Narttu,
Leonard Cohen,
Electric Light Orchestra,
U.S. Maple,
The Leaves,
Urselle,
The Sound,
Erasure,
Faraquet,
Sixth Finger,
Arcadia,
Boz Scaggs,
The Barracudas,
Zero Boys,
Cameo,
Tomorrow,
Funky Four + One,
Deakin,
Von Mondo,
The Fall,
Cluster,
Magazine,
The Zeros,
Heavy D & The Boyz,
Fear,
The Moleskins,
D'Angelo,
Aswad,
Jandek,
Public Image Ltd.,
Soft Machine,
Gregory Isaacs,
Dark Day,
Strawberry Alarm Clock,
Byron Stingily,
Loose Ends,
Make Up,
Spoonie Gee,
Girls At Our Best!,
Eurythmics,
The Gories,
Super Lover Cee & Casanova Rud,
Teenage Jesus and the Jerks,
Scrapy,
X-Ray Spex,
De La Soul & Jungle Brothers,
Amon Düül,
Grauzone,
The Moody Blues,
Oppenheimer Analysis,
Accadde A,
Nik Kershaw,
Heaven 17,
The Monks, The Monks, The Monks, The Monks.
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.