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 Morocco and from Jakarta.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Toronto.
I'm losing my edge to the art-school Lyon 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 guitar 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 Anakelly to the punk 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 De La Soul & Jungle Brothers. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Josef K record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Model 500,
the Human League,
Interpol,
David Bowie,
Drexciya,
Electric Prunes,
The Fugs,
Wings,
Newcleus,
Kerrie Biddell,
Mo-Dettes,
Prince Buster,
Man Parrish,
Throbbing Gristle,
FM Einheit,
Bootsy's Rubber Band,
Sugar Minott,
Steve Hackett,
Röyhkä ja Rättö ja Lehtisalo,
Neil Young & Crazy Horse,
The Selecter,
Patti Smith,
World's Most,
The Flesh Eaters,
Organ,
Ajijia Myrayebe,
Bill Wells,
Moss Icon,
Eli Mardock,
Terrestrial Tones,
The Smiths,
Los Fastidios,
Mantronix,
Scientists,
The New Christs,
Flamin' Groovies,
Y Pants,
Gregory Isaacs,
Derrick Morgan,
Arcadia,
PIL,
Eden Ahbez,
The Blues Magoos,
the Association,
Reuben Wilson,
The Remains,
Gerry Rafferty,
The Last Poets,
Franke,
Silicon Teens,
Nils Olav,
Bill Near,
Lower 48,
Big Daddy Kane,
Joe Smooth,
Sandy B,
Rites of Spring,
Banda Bassotti,
Kas Product,
The Five Americans,
Black Moon,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.