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 Malta and from Salvador.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 theremin 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 ABBA to the dance kids.
I played it at Cafe Wha.
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 Angels of Light & Akron/Family. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Barry Ungar,
Strawberry Alarm Clock,
Man Parrish,
Index,
Mark Hollis,
Gerry Rafferty,
Unwound,
Barclay James Harvest,
Matthew Halsall,
Wighnomy Brothers & Robag Wruhme,
The Pretty Things,
Niagra,
Andrew Ashong & Theo Parrish,
D'Angelo,
Shuggie Otis,
Moebius,
Ponytail,
Country Joe & The Fish,
Marc Romboy vs. Booka Shade,
Panda Bear,
Rahsaan Roland Kirk,
Ultravox,
Avey Tare's Slasher Flicks,
Sister Nancy,
Quantec,
Rowland S Howard / Lydia Lunch,
Camouflage,
Second Layer,
The Mighty Diamonds,
Eric B and Rakim,
Rapeman,
The Barracudas,
Bob Dylan,
Massinfluence,
Electric Prunes,
Porter Ricks,
Bill Near,
B.T. Express,
Blossom Toes,
Drive Like Jehu,
Delta 5,
Faraquet,
Dark Day,
The Motions,
Angry Samoans,
Schoolly D,
Gian Franco Pienzio,
The Fire Engines,
CMW,
Stockholm Monsters,
Drexciya,
The Misunderstood,
John Coltrane,
The Gun Club,
Dr. Dre and Snoop Doggy Dog,
Babytalk,
Lalann,
Flash Fearless,
Loose Ends,
Unrelated Segments,
Little Man,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.