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 Pakistan and from Jakarta.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school New York 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Girls At Our Best! to the techno kids.
I played it at the Spitz.
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 Con Funk Shun. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Bang On A Can,
Fluxion,
DJ Sneak,
Thinking Fellers Union Local 282,
Michelle Simonal,
Funkadelic,
The Wake,
Brothers Johnson,
Crash Course in Science,
Eddi Front,
Cal Tjader,
Schoolly D,
The Selecter,
a-ha,
Pharaoh Sanders and the Fire Engines,
New Age Steppers,
Rapeman,
the Slits,
Grey Daturas,
Joe Smooth,
Max Romeo,
Minutemen,
Saccharine Trust,
Essential Logic,
Erasure,
Minor Threat,
Charles Mingus,
Peter and Kerry,
Section 25,
Crooked Eye,
The Buckinghams,
The Walker Brothers,
Sister Nancy,
Monolake,
Neu!,
Ossler,
Spandau Ballet,
Super Lover Cee & Casanova Rud,
Fifty Foot Hose,
Rufus Thomas,
Au Pairs,
Pole,
Sound Behaviour,
The Monks,
Sex Pistols,
Gregory Isaacs,
Wire,
Visionaries,LMNO, T- Love & Iriscience,
Blancmange,
Deadbeat,
Faraquet,
Los Fastidios,
New York Dolls,
Leonard Cohen,
Parry Music,
Q65,
Marvin Gaye,
Dead Boys,
John Holt,
Sixth Finger,
Red Lorry Yellow Lorry,
Steve Hackett,
The Gap Band,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.