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 Argentina and from Paris.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Spokane.
I'm losing my edge to the art-school Taipei 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Roy Ayers Ubiquity to the dance kids.
I played it at CBGB's.
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 The Mojo Men. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Dawn Penn,
Technova,
Echo & the Bunnymen,
The Skatalites,
Dorothy Ashby,
Drive Like Jehu,
Kauko Röyhkä ja Narttu,
The United States of America,
The Barracudas,
Ice-T,
The Fugs,
Roy Ayers Ubiquity,
Can,
Hasil Adkins,
Louis and Bebe Barron,
Pierre Henry,
The New Christs,
Lightning Bolt,
Ultimate Spinach,
Swans,
K-Klass,
The Alarm Clocks,
Rakim,
Minor Threat,
Aaron Thompson,
Tubeway Army,
Tom Boy,
Audionom,
Minny Pops,
Thompson Twins,
Gil Scott-Heron & Brian Jackson,
Beasts of Bourbon,
The Beau Brummels,
Alton Ellis,
Gong,
Andrew Ashong & Theo Parrish,
Erasure,
Inner City,
Pagans,
Eve St. Jones,
Aural Exciters,
New Age Steppers,
Unwound,
Eyeless In Gaza,
Agitation Free,
The Vogues,
The Moody Blues,
Underground Resistance,
Pulsallama,
Supertramp,
The Modern Lovers,
Severed Heads,
The Mighty Diamonds,
Tropical Tobacco,
Max Romeo,
Patti Smith,
Spoonie Gee,
Rotary Connection,
kango's stein massive, kango's stein massive, kango's stein massive, kango's stein massive.
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.