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 Papua New Guinea and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Salvador 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 arpeggiator 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 Black Flag to the funk 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 Alison Limerick. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Aloha Tigers,
Oneida,
Lee Hazlewood,
Motorama,
Susan Cadogan,
David Bowie,
Albert Ayler,
The Modern Lovers,
World's Most,
Underground Resistance,
Matthew Bourne,
Urselle,
The Vogues,
Lebanon Hanover,
Art Ensemble Of Chicago,
Quantec,
Lizzy Mercier Descloux,
kango's stein massive,
The Gories,
H. Thieme,
Flipper,
Cal Tjader,
Sly & The Family Stone,
Mantronix,
The Grass Roots,
The Slackers,
Barclay James Harvest,
Minny Pops,
Brass Construction,
Bang On A Can,
Animal Collective,
Audionom,
Hot Snakes,
Nation of Ulysses,
Echospace,
John Foxx,
Fluxion,
Minor Threat,
Notorious Big And Bone Thugs,
Delon & Dalcan,
Avey Tare,
Manfred Mann's Earth Band,
Derrick Morgan,
Lyres,
Slick Rick,
The Trojans,
Quando Quango,
Sister Nancy,
Rhythim Is Rhythim,
Man Eating Sloth,
the Germs,
The Martian,
Siglo XX,
the Fania All-Stars,
Pagans,
Traffic Nightmare,
Scott Walker,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.