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 Lesotho and from Tokyo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school Lagos 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 organ 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 Delon & Dalcan to the punk 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 Lyres. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every The Peanut Butter Conspiracy 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Public Image Ltd.,
Kool G Rap & DJ Polo,
The Mighty Diamonds,
Rowland S Howard / Lydia Lunch,
Marc Romboy vs. Booka Shade,
Sad Lovers and Giants,
The Knickerbockers,
Maurizio,
New Order,
Kerrie Biddell,
Be Bop Deluxe,
Magazine,
ABC,
Basic Channel,
The Gap Band,
Ornette Coleman,
The Slits,
Matthew Bourne,
Howard Jones,
The Stooges,
Funkadelic,
Josef K,
Siglo XX,
Laurel Aitken,
Barbara Tucker,
Grauzone,
The Human League,
A Certain Ratio,
Qualms,
T.S.O.L.,
Ossler,
Sex Pistols,
Animal Collective,
Intrusion,
Desert Stars,
Niagra,
Reuben Wilson,
Skarface,
DJ Style,
Rhythm & Sound,
Rufus Thomas,
Model 500,
The Beau Brummels,
Erykah Badu,
the Soft Cell,
Country Joe & The Fish,
Dawn Penn,
Absolute Body Control,
Strawberry Alarm Clock,
Roy Ayers Ubiquity,
Sällskapet,
PIL,
Gong,
Pole,
The Fall,
Cybotron,
Skaos, Skaos, Skaos, Skaos.
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.