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 Chile and from Winnipeg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Bologna and Toronto.
I'm losing my edge to the art-school Glasgow 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 Donald Fagen 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 Fifty Foot Hose to the jazz 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 The Toasters. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every X-101 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Marcia Griffiths,
Deakin,
Rakim,
Lonnie Liston Smith,
Inner City,
Byron Stingily,
Dual Sessions,
Circle Jerks,
Freddie Wadling,
Funky Four + One,
Letta Mbulu,
Gong,
John Coltrane,
Matthew Bourne,
Robert Görl,
Motorama,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Barbara Tucker,
Lower 48,
Avey Tare's Slasher Flicks,
The Associates,
June of 44,
Easy Going,
Malaria!,
The Jesus and Mary Chain,
The Birthday Party,
Zero Boys,
Angry Samoans,
The Stooges,
Marmalade,
Negative Approach,
cv313,
Smog,
The Dead C,
Tom Boy,
The Fortunes,
Major Organ And The Adding Machine,
Black Bananas,
Tubeway Army,
The Pop Group,
Accadde A,
Stereo Dub,
Thompson Twins,
Qualms,
Oppenheimer Analysis,
Terrestrial Tones,
Laurel Aitken,
Super Lover Cee & Casanova Rud,
Chrome,
Röyhkä ja Rättö ja Lehtisalo,
Soft Cell,
Theoretical Girls,
Brass Construction,
Radio Birdman,
Larry & the Blue Notes,
Art Ensemble Of Chicago,
The Red Krayola,
Robert Wyatt,
Barry Ungar,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.