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 Canada and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Calgary and Tokyo.
I'm losing my edge to the art-school Spokane 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 spring reverb 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 Thompson Twins to the rap kids.
I played it at the 40 Watt.
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 Blancmange. All the underground hits.
All Suicide tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Bobbi Humphrey,
Donald Byrd,
Funky Four + One,
Kool Moe Dee,
James Chance & The Contortions,
X-Ray Spex,
Cal Tjader,
R.M.O.,
Rhythim Is Rhythim,
Smog,
The Misunderstood,
The Offenders,
Judy Mowatt,
Gil Scott-Heron and Jamie xx,
Mr. Review,
Delta 5,
The Remains,
The Music Machine,
Neil Young,
Sonny Sharrock,
Kango’s Stein Massive,
X-101,
Mark Hollis,
June Days,
Qualms,
The Young Rascals,
Can,
Peter and Kerry,
Deepchord,
Jerry Gold Smith,
Röyhkä ja Rättö ja Lehtisalo,
Deutsch Amerikanische Freundschaft,
Ralphi Rosario,
The Moleskins,
Joe Smooth,
Althea and Donna,
Soul II Soul,
Alison Limerick,
the Normal,
Siouxsie and the Banshees,
Country Joe & The Fish,
Arcadia,
The Techniques,
Cabaret Voltaire,
Arthur Verocai,
Arab on Radar,
Traffic Nightmare,
Notorious Big And Bone Thugs,
Jimmy McGriff,
Outsiders,
Theoretical Girls,
Michelle Simonal,
Flamin' Groovies,
Fat Boys,
The Dirtbombs,
The Alarm Clocks,
The Grass Roots,
A Flock of Seagulls,
Yazoo,
Chris & Cosey,
Prince Buster, Prince Buster, Prince Buster, Prince Buster.
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.