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 Macedonia and from Lille.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Beijing and London.
I'm losing my edge to the art-school London 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 Michelle Simonal to the crunk kids.
I played it at the Spitz.
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 Bar-Kays. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Maleditus Sound 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Lebanon Hanover,
The Remains,
The Peanut Butter Conspiracy,
Morten Harket,
Bootsy Collins,
Visage,
Peter and Kerry,
Lafayette Afro Rock Band,
Adolescents,
The Last Poets,
Reuben Wilson,
Ludus,
Oppenheimer Analysis,
Arab on Radar,
the Normal,
Yaz,
Juan Atkins,
Swell Maps,
Gang Starr,
Todd Terry,
Aswad,
Oneida,
June of 44,
Blake Baxter,
Skarface,
Pulsallama,
Althea and Donna,
Eurythmics,
Major Organ And The Adding Machine,
The Seeds,
Ohio Players,
Talk Talk,
Panda Bear,
John Coltrane,
The Durutti Column,
the Association,
Amon Düül II,
Aloha Tigers,
KRS-One,
Vainqueur,
Severed Heads,
Warsaw,
Isaac Hayes,
Sad Lovers and Giants,
Peter Gordon & Love of Life Orchestra,
Joyce Sims,
The Monochrome Set,
Lalann,
Darondo,
Franke,
The Standells,
Maurizio,
Fad Gadget,
Freddie Wadling,
The Residents,
The Real Kids,
CMW,
Audionom,
Slick Rick,
Barrington Levy,
Manfred Mann's Earth Band,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.