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 Chad and from Copenhagen.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Mexico City 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 organ 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 Roy Ayers Ubiquity to the techno kids.
I played it at the Astoria.
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 Michelle Simonal. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Shoche,
Rotary Connection,
E-Dancer,
The Misunderstood,
Radio Birdman,
Wolf Eyes,
Spoonie Gee,
Terrestrial Tones,
Theoretical Girls,
Zapp,
The Standells,
Jerry's Kids,
The Flesh Eaters,
The Smiths,
James White and The Blacks,
Inner City,
A Flock of Seagulls,
Radiopuhelimet,
Slave,
the Soft Cell,
Mo-Dettes,
The Index,
The Doors,
Brass Construction,
Fugazi,
The Doobie Brothers,
Kauko Röyhkä ja Narttu,
Boredoms,
Soulsonic Force,
Blake Baxter,
Mandrill,
Thee Headcoats,
Laurel Aitken,
Rakim,
Fluxion,
The Black Dice,
Bill Near,
Goldenarms,
Clear Light,
Fort Wilson Riot,
Talk Talk,
Jerry Gold Smith,
L. Decosne,
Cal Tjader,
Scott Walker,
Sound Behaviour,
Marc Romboy vs. Booka Shade,
Qualms,
Nils Olav,
Connie Case,
Roger Hodgson,
Little Man,
Kerrie Biddell,
Tubeway Army,
Soft Cell,
Amazonics,
Gong,
Cymande,
Grandmaster Flash,
Super Lover Cee & Casanova Rud,
Girls At Our Best!,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.