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 Honduras and from Sao Paulo.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Lille and New York.
I'm losing my edge to the art-school Stockholm 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 organ sounds with much patience.
I was there when David Bowie 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 The Jesus and Mary Chain to the dance 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 Bill Near. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Reagan Youth 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
The Martian,
Chris Corsano,
Jimmy McGriff,
Thinking Fellers Union Local 282,
Lucky Dragons,
Can,
the Bar-Kays,
Mantronix,
B.T. Express,
Orchestral Manoeuvres in the Dark,
It's A Beautiful Day,
Skaos,
Freddie Wadling,
Funkadelic,
Angry Samoans,
Q65,
Dorothy Ashby,
Suburban Knight,
Young Marble Giants,
The Associates,
Donny Hathaway,
Minor Threat,
The Mummies,
Tomorrow,
Marmalade,
Scratch Acid,
Lizzy Mercier Descloux,
Fad Gadget,
Bobby Womack,
La Düsseldorf,
Pierre Henry,
Scion,
Hoover,
Rakim,
The Evens,
Marc Romboy vs. Booka Shade,
Goldenarms,
D'Angelo,
Gil Scott Heron,
The Remains,
Guru Guru,
This Heat,
The Fortunes,
Procol Harum,
Spandau Ballet,
Todd Rundgren,
MDC,
Barry Ungar,
Section 25,
Dark Day,
The Dead C,
Unrelated Segments,
Charles Mingus,
The Blackbyrds,
Be Bop Deluxe,
Althea and Donna,
Harmonia,
48th St. Collective,
Von Mondo,
Dave Gahan,
Blossom Toes,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.