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 Honduras and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1970.
I'm losing my edge.
To all the kids in London and Sao Paulo.
I'm losing my edge to the art-school Cairo 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Interpol to the jazz kids.
I played it at the Roxy.
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 Cameo. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
John Lydon,
Robert Görl,
Zero Boys,
Barry Ungar,
Symarip,
Agent Orange,
Clear Light,
One Last Wish,
Flipper,
Circle Jerks,
The Skatalites,
Tropical Tobacco,
Sister Nancy,
Ronnie Foster,
Pagans,
Sandy B,
Electric Prunes,
Joy Division,
The Black Dice,
Deadbeat,
The West Coast Pop Art Experimental Band,
Radiohead,
Loose Ends,
Soulsonic Force,
Lalann,
Selector Dub Narcotic,
Neil Young,
Jacques Brel,
Fifty Foot Hose,
Grauzone,
Cameo,
Scientists,
Eyeless In Gaza,
Grandmaster Flash,
Harry Pussy,
Arab on Radar,
the Soft Cell,
Lou Reed & Metallica,
Radiopuhelimet,
E-Dancer,
Thee Headcoats,
Man Parrish,
Kas Product,
Nirvana,
Rapeman,
Bobby Womack,
The Durutti Column,
The Index,
Spoonie Gee,
Charles Mingus,
Teenage Jesus and the Jerks,
Model 500,
The Slackers,
Easy Going,
The Gap Band,
Masters at Work,
Alison Limerick,
Joe Smooth,
Donny Hathaway,
Fad Gadget,
Echo & the Bunnymen,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.