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 Malawi and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1971.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Toronto 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 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 Franke to the punk kids.
I played it at the Crocodile.
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 Pere Ubu. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Teenage Jesus and the Jerks,
Fluxion,
Jesper Dahlbäck,
Bang On A Can,
Kings Of Tomorrow,
Kauko Röyhkä ja Narttu,
Sällskapet,
Mary Jane Girls,
New York Dolls,
Laurel Aitken,
The Cosmic Jokers,
The Motions,
The Fuzztones,
Smog,
the Association,
Wasted Youth,
The Seeds,
John Coltrane,
Danielle Patucci,
Rites of Spring,
Nick Cave & The Bad Seeds,
Eurythmics,
The West Coast Pop Art Experimental Band,
The Detroit Cobras,
Hot Snakes,
Monks,
Notorious Big And Bone Thugs,
Marc Romboy vs. Booka Shade,
The Dead C,
B.T. Express,
The Peanut Butter Conspiracy,
Super Lover Cee & Casanova Rud,
Severed Heads,
Drive Like Jehu,
Angels of Light & Akron/Family,
This Heat,
The Angels of Light,
Cecil Taylor,
Metal Thangz,
Andrew Ashong & Theo Parrish,
Bauhaus,
China Crisis,
Peter and Kerry,
David Bowie,
Alton Ellis,
DNA,
Circle Jerks,
Thompson Twins,
Supertramp,
Sixth Finger,
The Real Kids,
The Monochrome Set,
Bobby Hutcherson,
Livin' Joy,
Theoretical Girls,
Strawberry Alarm Clock,
Graham Central Station,
Radiopuhelimet,
Leonard Cohen,
Alphaville, Alphaville, Alphaville, Alphaville.
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.