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 Singapore and from Spokane.
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 1971.
I'm losing my edge.
To all the kids in Tehran and Milan.
I'm losing my edge to the art-school Johannesburg 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Rufus Thomas to the jazz kids.
I played it at the Hacienda.
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 Electric Light Orchestra. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Scan 7 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Malaria!,
the Soft Cell,
Howard Jones,
Fad Gadget,
Faraquet,
Ronnie Foster,
Outsiders,
Scientists,
The Invisible,
Mission of Burma,
Joy Division,
Soul II Soul,
Wally Richardson,
Lucky Dragons,
Camron Feat. Jay Z And Juelz,
The Count Five,
Morten Harket,
Mandrill,
The Birthday Party,
Groovy Waters,
Black Moon,
Magazine,
X-Ray Spex,
Das Ding,
Johnny Clarke,
Orchestral Manoeuvres in the Dark,
Bauhaus,
Bang on a Can All-Stars,
Wire,
Soft Machine,
The Monochrome Set,
These Immortal Souls,
Gang of Four,
Man Parrish,
Sound Behaviour,
Avey Tare's Slasher Flicks,
Loose Ends,
Con Funk Shun,
Alison Limerick,
The Red Krayola,
DJ Style,
Boredoms,
Nas,
Marc Almond,
Talk Talk,
Jandek,
Todd Terry,
The Moody Blues,
Blake Baxter,
Nirvana,
Beasts of Bourbon,
Prince Buster,
Hoover,
Donny Hathaway,
Connie Case,
Model 500,
Lungfish,
Sticky Fingaz feat. Raekwon,
Shoche,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.