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 Kenya and from Portland.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Copenhagen 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 linndrum 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 Yellowson to the dance 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 Mary Jane Girls. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Slave 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 Gap Band,
Gerry Rafferty,
Boredoms,
48th St. Collective,
Dark Day,
Cameo,
The Litter,
Crispy Ambulance,
Tommy Roe,
Donald Byrd,
Notorious BIG live in Amsterdam,
Massinfluence,
Avey Tare & Kría Brekkan,
Traffic Nightmare,
The Doobie Brothers,
Interpol,
A Certain Ratio,
Pete Rock & C.L. Smooth,
Angry Samoans,
Delon & Dalcan,
the Association,
Surgeon,
Avey Tare's Slasher Flicks,
Royal Trux,
Iggy Pop,
CMW,
Kayak,
Yaz,
Sällskapet,
Byron Stingily,
Crime,
Minor Threat,
The Associates,
Rotary Connection,
Gang of Four,
Minutemen,
This Heat,
Deepchord,
Tom Boy,
Half Japanese,
Magma,
The Sisters of Mercy,
Eden Ahbez,
Teenage Jesus and the Jerks,
Derrick May,
the Germs,
Quantec,
Lightning Bolt,
E-Dancer,
Todd Terry,
Strawberry Alarm Clock,
The Velvet Underground,
Peter and Kerry,
The Move,
Dual Sessions,
Big Daddy Kane,
The Buckinghams,
Youth Brigade,
Fad Gadget,
Arcadia,
Freddie Wadling,
Howard Jones,
Gian Franco Pienzio,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.