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 Portugal and from Mexico City.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Copenhagen 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 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 Gichy Dan to the dance kids.
I played it at the Crocodile.
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 Tom Boy. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Delon & Dalcan 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Notorious Big And Bone Thugs,
Skarface,
It's A Beautiful Day,
Brothers Johnson,
Radio Birdman,
Lebanon Hanover,
Wighnomy Brothers & Robag Wruhme,
Eden Ahbez,
Robert Wyatt,
Roy Ayers Ubiquity,
The Pretty Things,
Brass Construction,
Icehouse,
Radiopuhelimet,
Aswad,
Matthew Halsall,
Freddie Wadling,
X-Ray Spex,
Yazoo,
Johnny Osbourne,
Boredoms,
Surgeon,
Black Pus,
Flamin' Groovies,
New York Dolls,
Public Enemy,
Bluetip,
Gary Puckett & The Union Gap,
Frankie Knuckles,
The Sonics,
Darondo,
Kas Product,
The Divine Comedy,
Brand Nubian,
Von Mondo,
Stetsasonic,
Roy Ayers,
The Remains,
Harpers Bizarre,
Can,
Pet Shop Boys,
Minor Threat,
Avey Tare,
Steve Hackett,
Laurel Aitken,
Erasure,
Swans,
Rapeman,
The Chocolate Watch Band,
Deepchord,
New Order,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Junior Murvin,
Traffic Nightmare,
Saccharine Trust,
The Sound,
The Alarm Clocks,
Hoover,
Bobby Byrd,
Amon Düül,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.