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 Tonga and from Cairo.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Bologna and Spokane.
I'm losing my edge to the art-school Shanghai 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 arpeggiator 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 Joey Negro to the rock kids.
I played it at the Spitz.
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 Notorious Big And Bone Thugs. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every MDC record on German import.
I heard that you have a white label of every seminal funk 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 sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Janne Schatter,
Ohio Players,
Deakin,
Nation of Ulysses,
Godley & Creme,
Notorious Big And Bone Thugs,
Lou Reed,
10cc,
The Durutti Column,
Bobby Womack,
The Detroit Cobras,
DJ Style,
Animal Collective,
Rowland S Howard / Lydia Lunch,
Johnny Osbourne,
Matthew Halsall,
Rhythm & Sound,
Infiniti,
Jerry Gold Smith,
Scott Walker,
Fatback Band,
Circle Jerks,
Terry Callier,
Todd Terry,
Black Moon,
The Sisters of Mercy,
The Red Krayola,
Los Fastidios,
Agitation Free,
D'Angelo,
Electric Prunes,
Gregory Isaacs,
The Barracudas,
Spoonie Gee,
Fort Wilson Riot,
Aswad,
New Order,
LL Cool J,
La Düsseldorf,
Dr. Dre and Snoop Doggy Dog,
Interpol,
Lebanon Hanover,
The New Christs,
Can,
Cheater Slicks,
Bush Tetras,
Fifty Foot Hose,
Eli Mardock,
Jesper Dahlbäck,
The Gories,
the Germs,
Selector Dub Narcotic,
Man Eating Sloth,
Lightning Bolt,
Sam Rivers,
Joy Division,
Ultra Naté,
Hasil Adkins,
Iggy Pop,
cv313,
Grauzone,
Johnny Clarke,
Accadde A, Accadde A, Accadde A, Accadde A.
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.