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 Belize and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Tehran and Woodstock.
I'm losing my edge to the art-school Beijing 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 guitar 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 Supertramp to the rap 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 Infiniti. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
The Count Five,
Pharaoh Sanders and the Fire Engines,
Beasts of Bourbon,
Crispy Ambulance,
Tom Boy,
The Jesus and Mary Chain,
Gerry Rafferty,
Con Funk Shun,
Robert Görl,
Donald Byrd,
Roy Ayers Ubiquity,
Louis and Bebe Barron,
Bobby Womack,
Suburban Knight,
Roxette,
Siouxsie and the Banshees,
Fifty Foot Hose,
The Raincoats,
Duran Duran,
Subhumans,
Johnny Osbourne,
Reagan Youth,
Kerrie Biddell,
Nation of Ulysses,
Stiv Bators,
The Fortunes,
Negative Approach,
Fugazi,
The Names,
Skarface,
Joe Smooth,
Rowland S Howard / Lydia Lunch,
Eyeless In Gaza,
Cabaret Voltaire,
The Doors,
The Modern Lovers,
The Birthday Party,
Gang Gang Dance,
The Seeds,
Roger Hodgson,
Cameo,
Lyres,
Audionom,
Lungfish,
The Gories,
Chrome,
The American Breed,
Kaleidoscope,
Hashim,
The Evens,
Tres Demented,
Severed Heads,
Peter Gordon & Love of Life Orchestra,
the Soft Cell,
New York Dolls,
World's Most,
Sight & Sound,
AZ,
Deepchord,
The Busters,
Kerri Chandler,
The Index,
The Fall, The Fall, The Fall, The Fall.
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.