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 Madagascar and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Toronto and Mexico City.
I'm losing my edge to the art-school Manchester 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 Lou Reed 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 Goldenarms to the rock kids.
I played it at the Roxy.
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 Rekid. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Terrestrial Tones 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 güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
DNA,
The Music Machine,
Wolf Eyes,
The Cosmic Jokers,
Panda Bear,
Scientists,
Crispy Ambulance,
Sly & The Family Stone,
Negative Approach,
The Doobie Brothers,
Barry Ungar,
Joe Finger,
Deadbeat,
Yellowson,
Sällskapet,
The Divine Comedy,
The Happenings,
Bobby Sherman,
The Last Poets,
Kevin Saunderson,
Steve Hackett,
The Detroit Cobras,
The American Breed,
Simply Red,
Soft Machine,
Pierre Henry,
Spandau Ballet,
Sixth Finger,
E-Dancer,
Underground Resistance,
The Litter,
Lou Reed,
The Remains,
Althea and Donna,
The Techniques,
Lindisfarne,
Byron Stingily,
Unrelated Segments,
Blake Baxter,
The Angels of Light,
The Busters,
Fat Boys,
Fluxion,
The Martian,
Matthew Halsall,
Model 500,
Connie Case,
Cabaret Voltaire,
Michelle Simonal,
Roger Hodgson,
The Pop Group,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
N.O.R.E. Featuring Pharrell,
Flash Fearless,
June Days,
Lalo Schifrin,
Sister Nancy,
Hoover,
Radiohead,
Newcleus,
Notorious BIG live in Amsterdam,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.