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 Tehran.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Halifax and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Arcadia to the disco kids.
I played it at the Troubador.
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 Faraquet. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Barry Ungar,
Avey Tare's Slasher Flicks,
Camron Feat. Jay Z And Juelz,
The Chocolate Watch Band,
Jeff Lynne,
Interpol,
Blossom Toes,
Gregory Isaacs,
The Moody Blues,
Kool G Rap & DJ Polo,
Sonny Sharrock,
Bobby Sherman,
Eve St. Jones,
Minor Threat,
Nik Kershaw,
Brothers Johnson,
The Mojo Men,
Deepchord,
Darondo,
The Detroit Cobras,
Cybotron,
Ronnie Foster,
UT,
The Saints,
Monks,
Maurizio,
The Knickerbockers,
Liaisons Dangereuses,
The Flesh Eaters,
Sexual Harrassment,
The Fall,
The Moleskins,
Harry Pussy,
The Smiths,
Jeru the Damaja,
Roy Ayers Ubiquity,
John Holt,
Red Lorry Yellow Lorry,
Louis and Bebe Barron,
Be Bop Deluxe,
Moss Icon,
Depeche Mode,
Outsiders,
Gichy Dan,
Eurythmics,
Matthew Halsall,
Kaleidoscope,
Richard Hell and the Voidoids,
Lucky Dragons,
Judy Mowatt,
B.T. Express,
Harmonia,
Tropical Tobacco,
Goldenarms,
Peter & Gordon,
Mantronix,
Piero Umiliani,
Ludus,
Aloha Tigers,
Heaven 17,
Carl Craig,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.