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 Swaziland and from Manila.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Accra and Houston.
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 arpeggiator 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 Al Stewart to the electroclash kids.
I played it at the Spitz.
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 Doobie Brothers. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dr. Dre and Snoop Doggy Dog,
Nation of Ulysses,
Hasil Adkins,
MC5,
The Mighty Diamonds,
Yazoo,
Hoover,
Ralphi Rosario,
The Remains,
Lou Reed & Metallica,
Gabor Szabo,
The Blackbyrds,
Dave Gahan,
The Monks,
Half Japanese,
Joensuu 1685,
Zero Boys,
The Fire Engines,
Simply Red,
Wolf Eyes,
Goldenarms,
Bauhaus,
Reuben Wilson,
Marshall Jefferson,
The Doobie Brothers,
Lou Reed,
Amon Düül II,
Trumans Water,
Audionom,
Boogie Down Productions,
Pere Ubu,
The Index,
Tommy Roe,
Kango’s Stein Massive,
Peter and Kerry,
Mr. Review,
Gang Green,
R.M.O.,
Brick,
X-101,
Strawberry Alarm Clock,
Dual Sessions,
Maleditus Sound,
Anakelly,
Jesper Dahlback,
Cheater Slicks,
Sound Behaviour,
Adolescents,
Robert Hood,
Gong,
Charles Mingus,
Orchestral Manoeuvres in the Dark,
Oppenheimer Analysis,
The Detroit Cobras,
The Slackers,
Deakin,
Carl Craig,
The Neon Judgement,
Lou Christie,
It's A Beautiful Day,
Youth Brigade,
Qualms,
Pharaoh Sanders and the Fire Engines,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.