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 Kuwait and from Lille.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
I'm losing my edge to the art-school Taipei 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Marine Girls 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 Flamin' Groovies. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Funky Four + One,
Black Moon,
Amon Düül II,
Kenny Larkin,
Parry Music,
Avey Tare & Kría Brekkan,
The Dave Clark Five,
David McCallum,
Pulsallama,
Ultra Naté,
The Kinks,
Trumans Water,
Siouxsie and the Banshees,
The Smoke,
Massinfluence,
Fort Wilson Riot,
the Soft Cell,
Lyres,
Tomorrow,
Young Marble Giants,
Unrelated Segments,
E-Dancer,
Notorious Big And Bone Thugs,
Gang Starr,
Toni Rubio,
Angels of Light & Akron/Family,
Spoonie Gee,
Gian Franco Pienzio,
Soft Cell,
Steve Hackett,
Beasts of Bourbon,
Black Flag,
Brothers Johnson,
Depeche Mode,
Whodini,
Make Up,
The Mojo Men,
Byron Stingily,
Anthony Braxton,
Groovy Waters,
Jeff Mills,
Roy Ayers Ubiquity,
Jesper Dahlbäck,
London Community Gospel Choir,
Angry Samoans,
Gang of Four,
Jerry Gold Smith,
Second Layer,
Grey Daturas,
Blossom Toes,
Joyce Sims,
The Residents,
The Doobie Brothers,
Talk Talk,
John Holt,
Half Japanese,
Gil Scott-Heron and Jamie xx,
Marcia Griffiths,
Delon & Dalcan,
The Gun Club,
Marc Almond,
X-102,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.