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 Samoa and from Salvador.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Columbus and New York.
I'm losing my edge to the art-school Milan 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Public Enemy to the electroclash kids.
I played it at the Troubador.
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 Organ. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every DJ Sneak 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
Shuggie Otis,
Kurtis Blow,
Country Teasers,
Brass Construction,
Kool Moe Dee,
Soul II Soul,
Bill Near,
Jerry Gold Smith,
Minor Threat,
Aaron Thompson,
Drive Like Jehu,
Jandek,
Los Fastidios,
The Stooges,
Siglo XX,
Vainqueur,
Soft Machine,
Surgeon,
Danielle Patucci,
Essential Logic,
The Black Dice,
This Heat,
The Gladiators,
Iggy Pop,
D'Angelo,
Girls At Our Best!,
Oppenheimer Analysis,
Roger Hodgson,
The Dead C,
Public Image Ltd.,
Ludus,
Soulsonic Force,
Panda Bear,
Icehouse,
Lindisfarne,
Stockholm Monsters,
Notorious Big And Bone Thugs,
Saccharine Trust,
Cluster,
Robert Hood,
Idris Muhammad,
Godley & Creme,
Crash Course in Science,
The Seeds,
Adolescents,
Gong,
Harry Pussy,
ABBA,
The Skatalites,
The J.B.'s,
EPMD,
Maleditus Sound,
Visage,
Blancmange,
Boz Scaggs,
Q and Not U,
Fear,
Intrusion,
Mr. Review,
Smog,
the Soft Cell,
Terry Callier,
John Holt, John Holt, John Holt, John Holt.
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.