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 Comoros and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Lagos and Sao Paulo.
I'm losing my edge to the art-school Mumbai 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 rhodes 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 The Sisters of Mercy to the punk 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 Television Personalities. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Quadrant,
KRS-One,
La Düsseldorf,
The Real Kids,
Godley & Creme,
This Heat,
Max Romeo,
Ajijia Myrayebe,
Marc Almond,
Radio Birdman,
The Skatalites,
Oneida,
Yusef Lateef,
Duran Duran,
Moss Icon,
Soul II Soul,
Oblivians,
Selector Dub Narcotic,
Moebius,
Lou Christie,
Camouflage,
Y Pants,
Echo & the Bunnymen,
Donald Byrd,
Shoche,
Gil Scott Heron,
Joe Smooth,
Nico,
Au Pairs,
Main Source,
Blossom Toes,
D'Angelo,
Glambeats Corp.,
Hashim,
Red Lorry Yellow Lorry,
Art Ensemble Of Chicago,
Dead Boys,
Soft Cell,
Notorious Big And Bone Thugs,
Isaac Hayes,
Röyhkä ja Rättö ja Lehtisalo,
Minor Threat,
The Slackers,
Tom Boy,
T. Rex,
Radiohead,
Cabaret Voltaire,
Boogie Down Productions,
Manfred Mann's Earth Band,
Lyres,
Orchestral Manoeuvres in the Dark,
Tubeway Army,
the Fania All-Stars,
The Royal Family And The Poor,
The New Christs,
Niagra,
Arthur Verocai,
Ultravox,
Echospace, Echospace, Echospace, Echospace.
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.