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 Moldova and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
I'm losing my edge to the art-school Tokyo 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 synthesizer 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 Oblivians to the rock kids.
I played it at the Astoria.
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 Sällskapet. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Silicon Teens 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
World's Most,
the Germs,
Avey Tare,
Hoover,
Mr. Review,
Cal Tjader,
Talk Talk,
Ronnie Foster,
the Swans,
Deutsch Amerikanische Freundschaft,
Sällskapet,
Visage,
Supertramp,
David Axelrod,
The Saints,
Ronan,
Qualms,
Lizzy Mercier Descloux,
ABBA,
MC5,
Joensuu 1685,
Albert Ayler,
Liaisons Dangereuses,
Kayak,
New York Dolls,
Babytalk,
The Monochrome Set,
Faust,
Technova,
Althea and Donna,
Black Sheep,
John Coltrane,
Matthew Bourne,
Juan Atkins,
One Last Wish,
Ajijia Myrayebe,
Joe Smooth,
Rekid,
Eric Dolphy,
Man Parrish,
Young Marble Giants,
Louis and Bebe Barron,
The Names,
The Associates,
The United States of America,
Jeru the Damaja,
Agent Orange,
The Cowsills,
Gerry Rafferty,
The Stooges,
The Last Poets,
Jeff Lynne,
Bob Dylan,
Dave Gahan,
This Heat,
Organ,
Todd Rundgren,
Eric Copeland,
The Music Machine,
OOIOO,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.