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 Azerbaijan and from Spokane.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Manila and Bremen.
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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Graham Central Station to the grunge kids.
I played it at the Troubador.
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 Pharoah Sanders. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal rock 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 snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Skarface record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Ponytail,
Mr. Review,
Grandmaster Flash,
Magma,
Jesper Dahlbäck,
Cabaret Voltaire,
Lakeside,
Glambeats Corp.,
A Certain Ratio,
Whodini,
Ronnie Foster,
Wally Richardson,
Saccharine Trust,
Roxette,
Lalann,
Man Eating Sloth,
Godley & Creme,
Thompson Twins,
Bauhaus,
Motorama,
The Sound,
Cymande,
Davy DMX,
Cybotron,
Animal Collective,
Brass Construction,
Dead Boys,
Kurtis Blow,
Von Mondo,
Brick,
Radio Birdman,
Tears for Fears,
The Alarm Clocks,
Tomorrow,
Man Parrish,
Brand Nubian,
Aural Exciters,
Siglo XX,
The Golliwogs,
Fear,
Erykah Badu,
Fad Gadget,
Cheater Slicks,
Sandy B,
E-Dancer,
Cal Tjader,
Minutemen,
Lonnie Liston Smith,
Model 500,
Dr. Dre and Snoop Doggy Dog,
Lou Christie,
Marmalade,
Lebanon Hanover,
Bobby Byrd,
Con Funk Shun,
These Immortal Souls,
Gang Gang Dance,
James Chance & The Contortions,
The Move, The Move, The Move, The Move.
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.