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 Monaco and from Salvador.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Manila and Salvador.
I'm losing my edge to the art-school Glasgow 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 CMW 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 Sixth Finger. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
L. Decosne,
Make Up,
David Bowie,
Angry Samoans,
Sun Ra,
Alison Limerick,
Archie Shepp,
Lee Hazlewood,
Arthur Verocai,
The Doobie Brothers,
Black Sheep,
Young Marble Giants,
Scott Walker + Sunn O))),
Wolf Eyes,
The Selecter,
The Red Krayola,
Throbbing Gristle,
Stereo Dub,
Pet Shop Boys,
Radiopuhelimet,
London Community Gospel Choir,
Bob Dylan,
Lebanon Hanover,
The Golliwogs,
Wings,
Newcleus,
Unwound,
The Neon Judgement,
The Monochrome Set,
Grey Daturas,
The Litter,
Ponytail,
Howard Jones,
Henry Cow,
Rekid,
Tomorrow,
Derrick Morgan,
Mantronix,
Sex Pistols,
the Swans,
De La Soul & Jungle Brothers,
Thompson Twins,
Kayak,
the Germs,
The Flesh Eaters,
Ultimate Spinach,
Chris Corsano,
the Human League,
Lou Reed,
The Five Americans,
Big Daddy Kane,
Louis and Bebe Barron,
John Holt,
Red Lorry Yellow Lorry,
The Music Machine,
Scrapy,
Excepter,
Half Japanese,
Roger Hodgson,
Section 25,
Lizzy Mercier Descloux,
Ronnie Foster,
Blancmange, Blancmange, Blancmange, Blancmange.
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.