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 Egypt and from Manila.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Paris and Philadelphia.
I'm losing my edge to the art-school Bologna 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 Tom Verlaine 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 Charles Mingus 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 Fad Gadget. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Scrapy,
The Sisters of Mercy,
Sun Ra,
The Pop Group,
Smog,
Morten Harket,
Magma,
The Fortunes,
Bob Dylan,
Japan,
Johnny Clarke,
Television,
MDC,
Sad Lovers and Giants,
Terror Squad Feat. Camron,
Richard Hell and the Voidoids,
the Soft Cell,
Motorama,
Quadrant,
Porter Ricks,
Nico,
Reuben Wilson,
Art Ensemble Of Chicago,
Johnny Osbourne,
Jacques Brel,
Gregory Isaacs,
Skriet,
Sugar Minott,
The Victims,
The Moody Blues,
Joe Finger,
Arthur Verocai,
Grandmaster Flash and the Furious Five,
Khruangbin,
Bang On A Can,
Pierre Henry,
Erykah Badu,
Tubeway Army,
Peter and Kerry,
Black Bananas,
The Golliwogs,
Mary Jane Girls,
Nick Cave & The Bad Seeds,
Roy Ayers Ubiquity,
The Techniques,
Technova,
Judy Mowatt,
Steve Hackett,
Joyce Sims,
Tres Demented,
London Community Gospel Choir,
Fela Kuti,
Radio Birdman,
The Move,
Ice-T,
Albert Ayler,
Isaac Hayes,
Amon Düül II,
Kurtis Blow,
Masters at Work,
Siouxsie and the Banshees,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.