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 Grenada and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Beijing.
I'm losing my edge to the art-school Taipei 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 theremin sounds with much patience.
I was there when Lou Reed 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 Gil Scott-Heron and Jamie xx to the funk kids.
I played it at the Hacienda.
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 Gil Scott Heron. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Gabor Szabo 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Kaleidoscope,
Pylon,
Terrestrial Tones,
Alton Ellis,
The Music Machine,
The Motions,
Bob Dylan,
The Fire Engines,
Cecil Taylor,
Nik Kershaw,
New Order,
Cheater Slicks,
Beasts of Bourbon,
Gang Gang Dance,
Liliput,
Scientists,
Jesper Dahlbäck,
The Blues Magoos,
Sixth Finger,
The Dave Clark Five,
Thee Headcoats,
Gian Franco Pienzio,
10cc,
Amon Düül,
Soul II Soul,
The Standells,
the Normal,
These Immortal Souls,
Japan,
Intrusion,
Moby Grape,
Schoolly D,
X-102,
Roger Hodgson,
Connie Case,
DNA,
Barclay James Harvest,
Piero Umiliani,
the Germs,
The Toasters,
The Royal Family And The Poor,
Girls At Our Best!,
Jacob Miller,
Nils Olav,
Byron Stingily,
Dave Gahan,
Eurythmics,
Graham Central Station,
Davy DMX,
Soft Machine,
The Flesh Eaters,
Glambeats Corp.,
Unwound,
Masters at Work,
The Remains,
Bang on a Can All-Stars,
Bobby Sherman,
K-Klass,
Carl Craig,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.