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 Samoa and from London.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Accra.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Amon Düül to the punk kids.
I played it at Trash.
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 The Doobie Brothers. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Peter and Kerry,
Iggy Pop,
Model 500,
Theoretical Girls,
The Cramps,
Blossom Toes,
Selector Dub Narcotic,
Kool G Rap & DJ Polo,
Siglo XX,
Andrew Hill,
Alphaville,
8 Eyed Spy,
Gabor Szabo,
the Sonics,
Brand Nubian,
Porter Ricks,
Soul Sonic Force,
Lakeside,
The Cowsills,
David McCallum,
Connie Case,
Soulsonic Force,
Gil Scott-Heron and Jamie xx,
The Techniques,
Marcia Griffiths,
Pole,
Tim Buckley,
Harpers Bizarre,
Camberwell Now,
The Neon Judgement,
Bootsy Collins,
Malaria!,
The Remains,
Kurtis Blow,
Banda Bassotti,
Bluetip,
Sandy B,
Brick,
Urselle,
John Lydon,
Depeche Mode,
The Evens,
The Victims,
Flamin' Groovies,
Jacob Miller,
Ornette Coleman,
The Durutti Column,
Stockholm Monsters,
China Crisis,
Kaleidoscope,
New Age Steppers,
Brothers Johnson,
Beasts of Bourbon,
Scrapy,
The Busters,
Talk Talk,
Reagan Youth,
Masters at Work,
The Knickerbockers,
Isaac Hayes,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.