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 Slovenia and from London.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1974.
I'm losing my edge.
To all the kids in New York and Seoul.
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 808 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 Ultra Naté to the dance kids.
I played it at CBGB's.
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 Patti Smith. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Shuggie Otis,
The Beau Brummels,
Kayak,
The Gap Band,
Banda Bassotti,
Sparks,
Basic Channel,
Cabaret Voltaire,
Q and Not U,
Brothers Johnson,
Essential Logic,
Juan Atkins,
Gil Scott Heron,
Rahsaan Roland Kirk,
The Tremeloes,
Babytalk,
Richard Hell and the Voidoids,
The Buckinghams,
Tim Buckley,
The Grass Roots,
Traffic Nightmare,
Bush Tetras,
Supertramp,
The Electric Prunes,
Boz Scaggs,
Neu!,
Sister Nancy,
Flash Fearless,
Fifty Foot Hose,
Sam Rivers,
E-Dancer,
Stiv Bators,
Crispy Ambulance,
Howard Jones,
World's Most,
Henry Cow,
The Monks,
Gastr Del Sol,
Ralphi Rosario,
Harpers Bizarre,
Reagan Youth,
Thompson Twins,
Cybotron,
Matthew Halsall,
Tres Demented,
Cecil Taylor,
Moss Icon,
Rites of Spring,
Albert Ayler,
Heaven 17,
Au Pairs,
Sällskapet,
Hasil Adkins,
Funkadelic,
The Real Kids,
The Trojans,
Strawberry Alarm Clock,
New York Dolls,
Dorothy Ashby,
The Human League,
Smog, Smog, Smog, Smog.
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.