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 Turkmenistan and from Mexico City.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Delhi and Milan.
I'm losing my edge to the art-school Johannesburg 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Darondo to the techno 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 Section 25. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Organ 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
The New Christs,
Sunsets and Hearts,
Eurythmics,
Gerry Rafferty,
The Saints,
The Skatalites,
Grey Daturas,
Electric Light Orchestra,
Maurizio,
Soul II Soul,
Goldenarms,
Hot Snakes,
X-102,
The Evens,
Gabor Szabo,
Sonic Youth,
Arab on Radar,
The Divine Comedy,
Rowland S Howard / Lydia Lunch,
Jeff Mills,
Country Joe & The Fish,
Gary Puckett & The Union Gap,
Smog,
Country Teasers,
X-Ray Spex,
Pharoah Sanders,
Robert Hood,
Kerrie Biddell,
Sällskapet,
Be Bop Deluxe,
The Pop Group,
The Gories,
Terry Callier,
Q and Not U,
Echo & the Bunnymen,
Yusef Lateef,
Pulsallama,
Cybotron,
EPMD,
Kas Product,
Ultimate Spinach,
The West Coast Pop Art Experimental Band,
The Last Poets,
Man Parrish,
Mo-Dettes,
Lalo Schifrin,
Easy Going,
Talk Talk,
Maleditus Sound,
The Dead C,
Underground Resistance,
Monolake,
Pierre Henry,
Skarface,
Sandy B,
Fluxion,
Ultravox,
Section 25,
B.T. Express,
Duran Duran,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.