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 Burkina and from New York.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Lille 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Camberwell Now to the rock kids.
I played it at the Troubador.
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 Rakim. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Rowland S Howard / Lydia Lunch,
Kool Moe Dee,
The Cowsills,
Second Layer,
Ronan,
Roxette,
The Selecter,
The Barracudas,
Marc Almond,
Quando Quango,
Terror Squad Feat. Camron,
Tubeway Army,
Maurizio,
Leonard Cohen,
Lizzy Mercier Descloux,
The Walker Brothers,
James White and The Blacks,
Bobby Hutcherson,
Anakelly,
Sexual Harrassment,
Symarip,
Con Funk Shun,
Grandmaster Flash,
Marine Girls,
Crispy Ambulance,
Barclay James Harvest,
DJ Style,
48th St. Collective,
Warren Ellis,
Kevin Saunderson,
Angry Samoans,
Chrome,
Dave Gahan,
A Flock of Seagulls,
Brand Nubian,
Dorothy Ashby,
Amazonics,
The Pretty Things,
Ralphi Rosario,
Joensuu 1685,
Nico,
Camron Feat. Memphis Bleek And Beenie Seigel,
Newcleus,
Pierre Henry,
Jacob Miller,
Can,
Electric Prunes,
The Doors,
Thompson Twins,
Harmonia,
Fear,
Public Image Ltd.,
Ossler,
X-Ray Spex,
Bob Dylan,
Oneida,
Junior Murvin,
Rod Modell,
The American Breed,
Piero Umiliani,
John Holt, John Holt, John Holt, John Holt.
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.