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 United Kingdom and from Lille.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1974.
I'm losing my edge.
To all the kids in Cairo and Accra.
I'm losing my edge to the art-school Mexico City 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Oblivians 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 Juan Atkins. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Fat Boys,
Matthew Bourne,
Electric Light Orchestra,
Pet Shop Boys,
Soft Machine,
Mad Mike,
Black Sheep,
the Germs,
Alphaville,
Graham Central Station,
Fort Wilson Riot,
Q65,
Sad Lovers and Giants,
Pere Ubu,
Yusef Lateef,
Pylon,
Agitation Free,
Yellowson,
Jeff Lynne,
New York Dolls,
Mars,
Danielle Patucci,
Make Up,
Essential Logic,
Loose Ends,
Henry Cow,
Roy Ayers Ubiquity,
The United States of America,
Jerry Gold Smith,
Richard Hell and the Voidoids,
De La Soul & Jungle Brothers,
James Chance & The Contortions,
U.S. Maple,
The Gladiators,
Blake Baxter,
The Residents,
Sticky Fingaz feat. Raekwon,
Jeru the Damaja,
Flash Fearless,
Soul II Soul,
Rotary Connection,
Pantytec,
Index,
A Flock of Seagulls,
Roxy Music,
Hoover,
Echo & the Bunnymen,
The Moody Blues,
Depeche Mode,
Pierre Henry,
The Index,
DJ Style,
the Swans,
Cameo,
Eddi Front,
The Remains,
FM Einheit,
Rahsaan Roland Kirk,
Bob Dylan,
Major Organ And The Adding Machine,
Joey Negro,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.