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 Morocco and from Lagos.
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 1977.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school Jakarta 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 spring reverb 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 Brass Construction to the jazz 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 Underground Resistance. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every The Sonics 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
The Music Machine,
Eden Ahbez,
Eric B and Rakim,
Skarface,
Hot Snakes,
The Fall,
The Gories,
Mark Hollis,
Steve Hackett,
Brick,
Adolescents,
Delta 5,
The Fuzztones,
Super Lover Cee & Casanova Rud,
John Coltrane,
Stereo Dub,
Subhumans,
Niagra,
Kaleidoscope,
Guru Guru,
Althea and Donna,
Don Cherry,
Newcleus,
UT,
Bad Manners,
The Busters,
Joy Division,
Radio Birdman,
Kerrie Biddell,
The Blues Magoos,
Sunsets and Hearts,
Fluxion,
A Certain Ratio,
Model 500,
Rod Modell,
Charles Mingus,
Procol Harum,
Jimmy McGriff,
Ultimate Spinach,
K-Klass,
Underground Resistance,
Robert Görl,
Pole,
Todd Rundgren,
Lalann,
The Electric Prunes,
Lyres,
Das Ding,
Public Image Ltd.,
Ultramagnetic MC's,
The Last Poets,
Bauhaus,
The Sonics,
Jesper Dahlbäck,
The Move,
Lalo Schifrin,
The Cowsills,
Tears for Fears,
Excepter,
The Birthday Party,
The Smoke,
Ultravox,
Radiohead, Radiohead, Radiohead, Radiohead.
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.