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 Costa Rica and from Woodstock.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Lille 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Eli Mardock to the grunge kids.
I played it at Trash.
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 Camberwell Now. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Ultra Naté 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 '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Essential Logic,
Liaisons Dangereuses,
Gang of Four,
Tears for Fears,
Kauko Röyhkä ja Narttu,
Big Daddy Kane,
Faraquet,
The Pop Group,
The Cramps,
Porter Ricks,
The Martian,
Bronski Beat,
Peter & Gordon,
Gastr Del Sol,
Easy Going,
Gil Scott-Heron & Brian Jackson,
T.S.O.L.,
David Bowie,
Arab on Radar,
Au Pairs,
Darondo,
Swell Maps,
Ohio Players,
Strawberry Alarm Clock,
Harry Pussy,
Circle Jerks,
The Pretty Things,
The Music Machine,
David McCallum,
De La Soul & Jungle Brothers,
The Divine Comedy,
Flamin' Groovies,
Laurel Aitken,
Traffic Nightmare,
Nation of Ulysses,
Juan Atkins,
The Names,
Gang Gang Dance,
Tropical Tobacco,
Shuggie Otis,
Duran Duran,
Delta 5,
The Last Poets,
Manfred Mann's Earth Band,
Public Enemy,
Scion,
Pharaoh Sanders and the Fire Engines,
Procol Harum,
Technova,
Dead Boys,
Piero Umiliani,
The Gladiators,
DeepChord presents Echospace,
Lee Hazlewood,
The Detroit Cobras,
The Flesh Eaters,
Roger Hodgson,
Robert Hood,
Barrington Levy,
Wasted Youth,
Audionom, Audionom, Audionom, Audionom.
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.