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 Sao Paulo.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Manchester 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 The Victims to the electroclash kids.
I played it at CBGB's.
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 Ultra Naté. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every The J.B.'s 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 '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
LL Cool J,
Ultra Naté,
Talk Talk,
Fort Wilson Riot,
Scrapy,
Severed Heads,
H. Thieme,
Josef K,
The Durutti Column,
The Blackbyrds,
The Techniques,
Peter Gordon & Love of Life Orchestra,
Wally Richardson,
Minor Threat,
Con Funk Shun,
R.M.O.,
Aural Exciters,
Bauhaus,
DJ Style,
Motorama,
Robert Wyatt,
10cc,
The Knickerbockers,
Kayak,
Khruangbin,
The Cramps,
The Walker Brothers,
Groovy Waters,
A Certain Ratio,
Camberwell Now,
Bang On A Can,
Dawn Penn,
Kings Of Tomorrow,
Anakelly,
Delta 5,
Popol Vuh,
Gary Puckett & The Union Gap,
Ossler,
Porter Ricks,
The Angels of Light,
Urselle,
Dr. Dre and Snoop Doggy Dog,
Ponytail,
Spandau Ballet,
Nik Kershaw,
Warsaw,
Leonard Cohen,
Kauko Röyhkä ja Narttu,
Pole,
Vaughan Mason & Crew,
Bronski Beat,
ABBA,
John Foxx,
Magazine,
Yusef Lateef,
Panda Bear,
Radio Birdman,
Eyeless In Gaza,
Davy DMX,
The West Coast Pop Art Experimental Band,
Mo-Dettes,
The Gladiators,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.