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 Benin and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Toronto and New York.
I'm losing my edge to the art-school Mexico City 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 organ 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 Ituana to the dance kids.
I played it at the Astoria.
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 Black Sheep. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Kerrie Biddell,
Sixth Finger,
The Chocolate Watch Band,
Lakeside,
Sight & Sound,
Funky Four + One,
The Durutti Column,
Livin' Joy,
X-102,
John Holt,
Japan,
The Shadows of Knight,
Eli Mardock,
Teenage Jesus and the Jerks,
Jawbox,
The Move,
Captain Beefheart & His Magic Band,
Man Parrish,
Banda Bassotti,
Larry & the Blue Notes,
Maurizio,
R.M.O.,
Gang Gang Dance,
Desert Stars,
Model 500,
Bang on a Can All-Stars,
Surgeon,
Stiv Bators,
John Cale,
The Sound,
Grandmaster Flash,
Arab on Radar,
Davy DMX,
Organ,
Alison Limerick,
The Fall,
Suicide,
Loose Ends,
Quadrant,
The Blues Magoos,
Hoover,
Procol Harum,
Section 25,
Hot Snakes,
Half Japanese,
Masters at Work,
London Community Gospel Choir,
Echospace,
Big Daddy Kane,
Chris Corsano,
Rhythm & Sound,
Roy Ayers,
Harpers Bizarre,
Fort Wilson Riot,
Yusef Lateef,
Sunsets and Hearts,
Jeff Lynne,
Smog,
Sällskapet,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.