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 Luxembourg and from Beijing.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Salvador and Glasgow.
I'm losing my edge to the art-school Lagos 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 Steve Hackett to the disco 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 Schoolly D. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Louis and Bebe Barron,
Soft Cell,
Connie Case,
The J.B.'s,
Pierre Henry,
Laurel Aitken,
Ronnie Foster,
Dr. Dre and Snoop Doggy Dog,
Bluetip,
Terror Squad Feat. Camron,
Freddie Wadling,
Harpers Bizarre,
Echo & the Bunnymen,
Bootsy Collins,
cv313,
K-Klass,
Skriet,
London Community Gospel Choir,
In Retrospect,
F. McDonald,
Magazine,
The Pop Group,
Hasil Adkins,
Magma,
Rekid,
Pylon,
Joey Negro,
Scott Walker,
Flash Fearless,
Dorothy Ashby,
Jacques Brel,
Boredoms,
Charles Mingus,
The United States of America,
The Sound,
Gong,
The Cramps,
The Kinks,
Marine Girls,
Model 500,
Lonnie Liston Smith,
Black Bananas,
Bill Wells,
Art Ensemble Of Chicago,
Unrelated Segments,
Darondo,
The Blackbyrds,
Grey Daturas,
Grandmaster Flash,
Glambeats Corp.,
The Mighty Diamonds,
The Jesus and Mary Chain,
Peter Gordon & Love of Life Orchestra,
Skarface,
The Residents,
Audionom,
Soft Machine,
Selector Dub Narcotic,
Lebanon Hanover,
Eurythmics,
Electric Light Orchestra,
The Beau Brummels,
The Smoke, The Smoke, The Smoke, The Smoke.
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.