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 Jamaica and from Seoul.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Spokane and Copenhagen.
I'm losing my edge to the art-school Madrid 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 Shuggie Otis to the punk kids.
I played it at the Hacienda.
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 The Fire Engines. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal techno 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
John Coltrane,
Lindisfarne,
Notorious Big And Bone Thugs,
Ronnie Foster,
The Dead C,
Amon Düül,
Gian Franco Pienzio,
The Litter,
DeepChord presents Echospace,
FM Einheit,
Eve St. Jones,
World's Most,
Sällskapet,
The Fall,
Can,
The Gap Band,
Yellowson,
Sister Nancy,
These Immortal Souls,
Quando Quango,
The Gun Club,
Kenny Larkin,
Robert Görl,
Hasil Adkins,
Jerry Gold Smith,
Soft Machine,
Nas,
James Chance & The Contortions,
Pylon,
Johnny Osbourne,
R.M.O.,
Soul Sonic Force,
Charles Mingus,
Second Layer,
Pole,
Accadde A,
The Human League,
Electric Light Orchestra,
Dark Day,
ABC,
Camberwell Now,
This Heat,
Glambeats Corp.,
A Flock of Seagulls,
Jeff Lynne,
Graham Central Station,
The Sound,
Drexciya,
Rekid,
Stetsasonic,
Severed Heads,
Cecil Taylor,
Lou Christie,
Nation of Ulysses,
Silicon Teens,
Make Up,
Liliput,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.