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 Macedonia and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Manchester and Glasgow.
I'm losing my edge to the art-school Edmonton 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 The Gladiators to the jazz 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 Half Japanese. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
James White and The Blacks,
Glenn Branca,
The Gladiators,
New York Dolls,
Brick,
8 Eyed Spy,
Excepter,
The Monochrome Set,
Audionom,
Cymande,
Nico,
Bluetip,
UT,
Traffic Nightmare,
Newcleus,
The Moleskins,
Terry Callier,
Liliput,
Moebius,
The Vogues,
Gerry Rafferty,
Ralphi Rosario,
Gil Scott-Heron & Brian Jackson,
Zero Boys,
The Sound,
Anakelly,
The Dave Clark Five,
The Cowsills,
Nik Kershaw,
Das Ding,
The Electric Prunes,
Sällskapet,
FM Einheit,
Pharaoh Sanders and the Fire Engines,
The American Breed,
Faust,
The Sonics,
Warren Ellis,
Matthew Bourne,
Lou Reed,
Shuggie Otis,
Bush Tetras,
Gil Scott Heron,
Brothers Johnson,
Interpol,
Model 500,
Surgeon,
The Doors,
Rotary Connection,
Kas Product,
Gary Puckett & The Union Gap,
Sonny Sharrock,
Jesper Dahlbäck,
Röyhkä ja Rättö ja Lehtisalo,
Ultra Naté,
Lalo Schifrin,
Matthew Halsall,
Grauzone,
Reuben Wilson,
Oblivians, Oblivians, Oblivians, Oblivians.
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.