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 Kyrgyzstan and from Edmonton.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Cairo.
I'm losing my edge to the art-school Sao Paulo 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 Supertramp to the grunge kids.
I played it at the 40 Watt.
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 Man Parrish. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Wire record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
R.M.O.,
The Human League,
The Tremeloes,
Brick,
The Divine Comedy,
Eddi Front,
OOIOO,
Robert Görl,
Pete Rock & C.L. Smooth,
The Kinks,
Alphaville,
Oneida,
Infiniti,
Gil Scott-Heron and Jamie xx,
Ultimate Spinach,
Kurtis Blow,
Ultra Naté,
The Skatalites,
Television,
Brass Construction,
Lucky Dragons,
Wally Richardson,
Janne Schatter,
Banda Bassotti,
Duran Duran,
June of 44,
The Misunderstood,
Wire,
Pharoah Sanders,
Von Mondo,
Cecil Taylor,
The Neon Judgement,
Eric Copeland,
Alison Limerick,
Severed Heads,
Howard Jones,
Boogie Down Productions,
Peter & Gordon,
Jerry Gold Smith,
DJ Style,
Accadde A,
Grey Daturas,
The Moleskins,
Ice-T,
Main Source,
Rhythm & Sound,
Soul Sonic Force,
Juan Atkins,
Animal Collective,
Gil Scott-Heron & Brian Jackson,
Bluetip,
the Swans,
Sound Behaviour,
Yellowson,
Arcadia,
Bobby Womack,
Derrick May,
Jeff Mills,
Iggy Pop,
Glenn Branca,
Sun Ra Arkestra,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.