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 Burundi and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Brick to the grime 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 kango's stein massive. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal rap 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Gang Gang Dance,
Davy DMX,
Pole,
Whodini,
Harpers Bizarre,
Lower 48,
Newcleus,
The Electric Prunes,
Bobby Hutcherson,
Mo-Dettes,
Strawberry Alarm Clock,
Half Japanese,
Easy Going,
Khruangbin,
The Toasters,
John Lydon,
Blake Baxter,
These Immortal Souls,
The Black Dice,
Silicon Teens,
Fifty Foot Hose,
Intrusion,
Gary Puckett & The Union Gap,
The Chocolate Watch Band,
Sad Lovers and Giants,
Aural Exciters,
Ituana,
Swell Maps,
Robert Görl,
Jeff Lynne,
The Cosmic Jokers,
Avey Tare & Kría Brekkan,
the Human League,
The Five Americans,
Mark Hollis,
John Coltrane,
Von Mondo,
Glambeats Corp.,
The Pop Group,
Gil Scott-Heron and Jamie xx,
Leonard Cohen,
Bang On A Can,
Lafayette Afro Rock Band,
The West Coast Pop Art Experimental Band,
The Cure,
the Slits,
OOIOO,
Aaron Thompson,
Chris Corsano,
Minor Threat,
Mad Mike,
Average White Band,
Barrington Levy,
Guru Guru,
Dark Day,
Yusef Lateef,
Arcadia,
Stereo Dub,
The Slits, The Slits, The Slits, The Slits.
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.