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 Honduras and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Tokyo 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 Spandau Ballet to the dance kids.
I played it at the 40 Watt.
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 Pussy Galore. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Derrick Morgan 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Lou Reed & John Cale,
Lightning Bolt,
The Gun Club,
Faraquet,
Crispian St. Peters,
Sex Pistols,
Ultravox,
The Mummies,
The Sonics,
Roy Ayers Ubiquity,
Throbbing Gristle,
The Durutti Column,
Siglo XX,
The Misunderstood,
Buzzcocks,
Fugazi,
Fifty Foot Hose,
The Fuzztones,
Y Pants,
Wire,
Grey Daturas,
Roxy Music,
James Chance & The Contortions,
Gerry Rafferty,
Roxette,
The Smiths,
The Gap Band,
Juan Atkins,
Ponytail,
The New Christs,
Dead Boys,
Eric B and Rakim,
Visage,
Masters at Work,
Gil Scott-Heron & Brian Jackson,
Jacques Brel,
New Order,
Ronan,
Mad Mike,
Bobby Womack,
Lower 48,
Rotary Connection,
ABBA,
Liaisons Dangereuses,
Toni Rubio,
Suicide,
Nils Olav,
X-101,
Sonic Youth,
Crooked Eye,
Cluster,
Fear,
Lou Reed & Metallica,
One Last Wish,
The Barracudas,
Au Pairs,
The Neon Judgement,
The Evens,
Lou Christie,
DNA, DNA, DNA, DNA.
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.