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 Bolivia and from London.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Portland and Johannesburg.
I'm losing my edge to the art-school Milan 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 chamberlin 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 Ultramagnetic MC's 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 Deepchord. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Joe Smooth 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Slave,
The Men They Couldn't Hang,
Half Japanese,
Graham Central Station,
Liaisons Dangereuses,
Rotary Connection,
Hashim,
Pussy Galore,
The Count Five,
Jerry Gold Smith,
Morten Harket,
ABBA,
Ossler,
The Gap Band,
Soft Cell,
Max Romeo,
10cc,
Subhumans,
Severed Heads,
Nik Kershaw,
Ajijia Myrayebe,
Marc Romboy vs. Booka Shade,
Arab on Radar,
The Shadows of Knight,
Los Fastidios,
Sunsets and Hearts,
Dave Gahan,
Dark Day,
Ultravox,
Avey Tare & Kría Brekkan,
Groovy Waters,
Juan Atkins,
Camron Feat. Memphis Bleek And Beenie Seigel,
Blossom Toes,
Marc Almond,
The Beau Brummels,
Gabor Szabo,
Rekid,
the Slits,
Simply Red,
The Zeros,
Thompson Twins,
Scrapy,
David McCallum,
Interpol,
Warsaw,
Surgeon,
The Mojo Men,
Idris Muhammad,
Steve Hackett,
The Residents,
Siouxsie and the Banshees,
Flash Fearless,
Loose Ends,
Fluxion,
Connie Case,
The Detroit Cobras,
48th St. Collective,
Fat Boys,
Nick Cave & The Bad Seeds,
Sun Ra Arkestra,
PIL,
Kenny Larkin,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.