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 Iceland and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Taipei.
I'm losing my edge to the art-school Salvador 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Bar-Kays to the funk kids.
I played it at the Roxy.
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 Big Daddy Kane. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
Fear,
Charles Mingus,
The Birthday Party,
Siouxsie and the Banshees,
Barrington Levy,
Tropical Tobacco,
Bobby Sherman,
The Mummies,
Crash Course in Science,
Smog,
U.S. Maple,
Don Cherry,
Oneida,
Graham Central Station,
The Grass Roots,
Youth Brigade,
The Buckinghams,
Monolake,
Minor Threat,
Jimmy McGriff,
The Knickerbockers,
Dennis Brown,
Mark Hollis,
Roger Hodgson,
Surgeon,
The Gap Band,
Bootsy Collins,
Model 500,
Masters at Work,
Camron Feat. Jay Z And Juelz,
Selector Dub Narcotic,
Scan 7,
The Tremeloes,
Janne Schatter,
Louis and Bebe Barron,
X-102,
This Heat,
The Fire Engines,
Newcleus,
A Certain Ratio,
The Shadows of Knight,
Electric Light Orchestra,
Lonnie Liston Smith,
Roxy Music,
Avey Tare & Kría Brekkan,
Oppenheimer Analysis,
Gichy Dan,
Traffic Nightmare,
Flash Fearless,
Aswad,
Lou Christie,
Moss Icon,
R.M.O.,
Fluxion,
The Modern Lovers,
Can,
Bill Wells,
Gang Gang Dance,
Swell Maps,
Visage,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.