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 Solomon Islands and from Lagos.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Spokane and Salvador.
I'm losing my edge to the art-school Sao Paulo 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 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 Pere Ubu to the grime 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 The Golliwogs. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Mantronix record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Nick Fraelich,
Sällskapet,
The Red Krayola,
The Buckinghams,
Howard Jones,
The Neon Judgement,
Ponytail,
Big Daddy Kane,
Lou Reed,
Joyce Sims,
Bill Wells,
Magazine,
Black Flag,
Electric Prunes,
Roy Ayers Ubiquity,
John Coltrane,
Sad Lovers and Giants,
David Axelrod,
Maurizio,
Newcleus,
The Shadows of Knight,
The Busters,
Tropical Tobacco,
Juan Atkins,
Brass Construction,
Qualms,
Loose Ends,
R.M.O.,
Crooked Eye,
Inner City,
This Heat,
The Young Rascals,
The Seeds,
ABC,
Rhythim Is Rhythim,
David McCallum,
Spandau Ballet,
Rowland S Howard / Lydia Lunch,
These Immortal Souls,
Hot Snakes,
U.S. Maple,
Super Lover Cee & Casanova Rud,
Sunsets and Hearts,
FM Einheit,
Porter Ricks,
Boogie Down Productions,
Main Source,
The Human League,
Dennis Brown,
The Last Poets,
The Fall,
The Leaves,
Darondo,
Sun City Girls,
Ronnie Foster,
Monks,
Godley & Creme,
Iggy Pop,
The Mighty Diamonds,
Ohio Players,
Rakim,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.