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 France and from Seoul.
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 1965 to 1977.
I'm losing my edge.
To all the kids in New York and Seoul.
I'm losing my edge to the art-school Delhi 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 Captain Beefheart 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 Gap Band to the dance 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 Gian Franco Pienzio. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Angels of Light & Akron/Family 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Vaughan Mason & Crew,
Brand Nubian,
Siglo XX,
LL Cool J,
Soft Cell,
James Chance & The Contortions,
Susan Cadogan,
Bush Tetras,
Magazine,
Kevin Saunderson,
The Misunderstood,
The Invisible,
Kauko Röyhkä ja Narttu,
Kaleidoscope,
The Sonics,
Circle Jerks,
Avey Tare,
Jacques Brel,
Piero Umiliani,
Kool Moe Dee,
The Mojo Men,
Blossom Toes,
H. Thieme,
Clear Light,
Tommy Roe,
The Remains,
Ultra Naté,
PIL,
Jesper Dahlbäck,
Country Joe & The Fish,
Gong,
Ralphi Rosario,
Grandmaster Flash and the Furious Five,
Icehouse,
Gichy Dan,
EPMD,
Pete Rock & C.L. Smooth,
Lou Christie,
DJ Style,
Ten City,
Barclay James Harvest,
Jeff Mills,
Lee Hazlewood,
Sam Rivers,
Arab on Radar,
Can,
Magma,
Severed Heads,
Alton Ellis,
Dead Boys,
Youth Brigade,
Traffic Nightmare,
Flipper,
Scan 7,
London Community Gospel Choir,
Skaos,
Neu!,
Crispy Ambulance,
Ituana,
Guru Guru,
Lalann, Lalann, Lalann, Lalann.
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.