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 Bahamas and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Grandmaster Flash to the jazz 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 The Fall. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things 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?
Röyhkä ja Rättö ja Lehtisalo,
Cameo,
Television Personalities,
The Leaves,
Organ,
Boz Scaggs,
Curtis Mayfield,
Los Fastidios,
Icehouse,
Roy Ayers,
John Holt,
Avey Tare,
DJ Sneak,
Cabaret Voltaire,
Donny Hathaway,
Wolf Eyes,
The Birthday Party,
Arthur Verocai,
The Names,
Skarface,
Nico,
The Evens,
Bobby Hutcherson,
Sällskapet,
Eden Ahbez,
Albert Ayler,
X-101,
Funky Four + One,
Howard Jones,
Sun Ra Arkestra,
Lee Hazlewood,
Absolute Body Control,
Deutsch Amerikanische Freundschaft,
EPMD,
Vaughan Mason & Crew,
Gichy Dan,
The Zeros,
Jacques Brel,
Marc Romboy vs. Booka Shade,
The Mighty Diamonds,
Con Funk Shun,
Adolescents,
Harry Pussy,
Ludus,
The Monochrome Set,
Pussy Galore,
Erasure,
Ice-T,
Wings,
The Alarm Clocks,
The Residents,
Warsaw,
The Shadows of Knight,
The Motions,
Slave,
Main Source,
Talk Talk,
Eric Copeland,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.