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 Slovakia and from Calgary.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 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 Black Pus to the grime kids.
I played it at the Roxy.
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 The Detroit Cobras. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Babytalk,
Eve St. Jones,
Audionom,
Loose Ends,
Eyeless In Gaza,
Kenny Larkin,
DNA,
Amon Düül,
Lafayette Afro Rock Band,
The Offenders,
Scott Walker,
The Neon Judgement,
Fear,
Orchestral Manoeuvres in the Dark,
Subhumans,
Kool G Rap & DJ Polo,
This Heat,
The Slackers,
Oblivians,
Dual Sessions,
Fugazi,
Fort Wilson Riot,
John Holt,
James Chance & The Contortions,
Alison Limerick,
Intrusion,
Roy Ayers,
Wally Richardson,
Mo-Dettes,
The Names,
Siouxsie and the Banshees,
Kango’s Stein Massive,
John Foxx,
Neu!,
Fad Gadget,
The Sound,
The Smoke,
Groovy Waters,
Bobby Byrd,
Panda Bear,
The West Coast Pop Art Experimental Band,
Chris & Cosey,
Altered Images,
R.M.O.,
Slick Rick,
The Vogues,
Rufus Thomas,
Ice-T,
Peter and Kerry,
Quando Quango,
The Remains,
E-Dancer,
Archie Shepp,
Ossler,
Kas Product,
The Fire Engines,
Hashim,
The Barracudas,
Soulsonic Force,
The Leaves,
Lizzy Mercier Descloux,
Ludus,
Monks, Monks, Monks, Monks.
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.