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 Angola and from Delhi.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Paris 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 Lou Reed 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 Kayak to the dance 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 Rahsaan Roland Kirk. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Bobby Hutcherson 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Tropical Tobacco record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Marc Romboy vs. Booka Shade,
Theoretical Girls,
Grandmaster Flash and the Furious Five,
Charles Mingus,
The Vogues,
The Gap Band,
The Royal Family And The Poor,
Joe Smooth,
Lyres,
Pharoah Sanders,
Silicon Teens,
Jeff Lynne,
Sight & Sound,
Pierre Henry,
Los Fastidios,
Public Image Ltd.,
The Sound,
Khruangbin,
Schoolly D,
Donny Hathaway,
Don Cherry,
Ultravox,
London Community Gospel Choir,
Bad Manners,
Throbbing Gristle,
James Chance & The Contortions,
Derrick May,
Pere Ubu,
Gong,
kango's stein massive,
Fort Wilson Riot,
Be Bop Deluxe,
Kas Product,
Rod Modell,
Gary Puckett & The Union Gap,
Man Eating Sloth,
Severed Heads,
Brick,
Motorama,
Soft Machine,
Terrestrial Tones,
Oblivians,
Marvin Gaye,
Lucky Dragons,
Underground Resistance,
Idris Muhammad,
Gang Starr,
Nico,
Bootsy's Rubber Band,
Barry Ungar,
Stereo Dub,
Isaac Hayes,
Popol Vuh,
Cybotron,
Robert Hood,
Essential Logic,
Dorothy Ashby,
Steve Hackett,
Ultra Naté,
Kevin Saunderson,
Avey Tare,
David Bowie,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.