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 Brazil and from Columbus.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
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 mellotron 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 Au Pairs to the techno kids.
I played it at the 40 Watt.
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 Brick. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
The Move,
Can,
Sly & The Family Stone,
F. McDonald,
The Divine Comedy,
Index,
Technova,
John Lydon,
The Residents,
Jesper Dahlback,
Bill Wells,
Little Man,
Robert Wyatt,
Terror Squad Feat. Camron,
Wire,
Funkadelic,
Liaisons Dangereuses,
Wings,
The Fall,
Charles Mingus,
The Wake,
the Slits,
Sam Rivers,
Vladislav Delay,
X-Ray Spex,
Khruangbin,
Mandrill,
Mary Jane Girls,
Radiohead,
David McCallum,
Sonic Youth,
Andrew Ashong & Theo Parrish,
Desert Stars,
Gil Scott-Heron & Brian Jackson,
Judy Mowatt,
Man Parrish,
Gong,
Supertramp,
The Invisible,
Masters at Work,
Agent Orange,
Stetsasonic,
Eyeless In Gaza,
X-101,
Loose Ends,
8 Eyed Spy,
The Chocolate Watch Band,
Qualms,
Clear Light,
Aural Exciters,
Lafayette Afro Rock Band,
Lonnie Liston Smith,
The Smiths,
Sällskapet,
Lower 48,
Whodini,
Eric B and Rakim,
John Coltrane,
Pole,
Erykah Badu,
The West Coast Pop Art Experimental Band,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.