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 Sweden and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school New York 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 spring reverb 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 Bizarre Inc. to the crunk kids.
I played it at the Crocodile.
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 Sexual Harrassment. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal dance 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen 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?
Bush Tetras,
E-Dancer,
B.T. Express,
The Alarm Clocks,
Outsiders,
Black Moon,
Essential Logic,
Brand Nubian,
Deakin,
The Evens,
Dead Boys,
The Motions,
Toni Rubio,
The Shadows of Knight,
The Wake,
The Chocolate Watch Band,
Skriet,
Gang Green,
James White and The Blacks,
Liaisons Dangereuses,
The Gories,
Mark Hollis,
Eden Ahbez,
Selector Dub Narcotic,
Ash Ra Tempel,
Agent Orange,
Eve St. Jones,
Zero Boys,
Surgeon,
Darondo,
Radiopuhelimet,
Ronan,
Althea and Donna,
LL Cool J,
Matthew Bourne,
Cybotron,
Neu!,
The Zeros,
The Dead C,
Arthur Verocai,
The Doors,
Laurel Aitken,
Kango’s Stein Massive,
Radiohead,
Duran Duran,
Mandrill,
DJ Sneak,
Shoche,
Altered Images,
OOIOO,
Lindisfarne,
Eric Copeland,
Absolute Body Control,
The Jesus and Mary Chain,
Henry Cow,
Röyhkä ja Rättö ja Lehtisalo,
Sun Ra Arkestra,
Derrick May,
The Cramps,
Boz Scaggs,
Yellowson,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.