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 Saudi Arabia and from Sao Paulo.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Halifax and Tokyo.
I'm losing my edge to the art-school Cairo 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 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 Richard Hell and the Voidoids to the disco 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 Joe Smooth. All the underground hits.
All UT tracks. I heard you have a vinyl of every Blake Baxter 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Kerri Chandler,
Urselle,
Pole,
Pantaleimon,
Von Mondo,
Lou Reed,
Nik Kershaw,
James White and The Blacks,
Howard Jones,
DJ Sneak,
The American Breed,
The Shadows of Knight,
Make Up,
Radiopuhelimet,
Rod Modell,
Procol Harum,
Minutemen,
Grandmaster Flash and the Furious Five,
Amon Düül,
Funkadelic,
Delta 5,
Sight & Sound,
Frankie Knuckles,
The Smiths,
Silicon Teens,
Circle Jerks,
Ash Ra Tempel,
Lightning Bolt,
The Vogues,
Sly & The Family Stone,
Das Ding,
Absolute Body Control,
The Dirtbombs,
John Cale,
Banda Bassotti,
Ajijia Myrayebe,
Livin' Joy,
In Retrospect,
Nirvana,
Röyhkä ja Rättö ja Lehtisalo,
Bizarre Inc.,
Roy Ayers Ubiquity,
Lou Christie,
AZ,
Carl Craig,
Gil Scott-Heron & Brian Jackson,
Oppenheimer Analysis,
Roger Hodgson,
Crispy Ambulance,
Freddie Wadling,
Oneida,
The Fire Engines,
Skaos,
Yellowson,
Arcadia,
The Techniques,
Derrick Morgan,
CMW,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.