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 Cuba and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 Madrid and Philadelphia.
I'm losing my edge to the art-school Beijing 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 chamberlin 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 Duran Duran to the electroclash kids.
I played it at the Hacienda.
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 Roy Ayers. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Au Pairs record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Gregory Isaacs,
David Axelrod,
Subhumans,
The Fire Engines,
The Remains,
The Gap Band,
Scan 7,
Cluster,
MDC,
Metal Thangz,
The Fugs,
Interpol,
Deutsch Amerikanische Freundschaft,
kango's stein massive,
The Victims,
Gichy Dan,
Electric Prunes,
Tropical Tobacco,
The Toasters,
Sam Rivers,
B.T. Express,
Bizarre Inc.,
Janne Schatter,
Morten Harket,
Pantaleimon,
Dead Boys,
Fela Kuti,
World's Most,
Selector Dub Narcotic,
Sight & Sound,
Sunsets and Hearts,
K-Klass,
Laurel Aitken,
Avey Tare's Slasher Flicks,
Nation of Ulysses,
Nik Kershaw,
The Residents,
Theoretical Girls,
Sticky Fingaz feat. Raekwon,
Avey Tare,
Marcia Griffiths,
Eric B and Rakim,
Livin' Joy,
Sarah Menescal,
DJ Sneak,
Nas,
Terror Squad Feat. Camron,
Mad Mike,
Steve Hackett,
Kango’s Stein Massive,
Bronski Beat,
Echo & the Bunnymen,
Whodini,
Ornette Coleman,
Anakelly,
Be Bop Deluxe,
Scratch Acid,
Dorothy Ashby,
Circle Jerks,
Tom Boy,
Spandau Ballet,
Bauhaus,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.