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 New Zealand and from Milan.
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 1968 to 1971.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Kings Of Tomorrow to the techno kids.
I played it at Cafe Wha.
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 Gabor Szabo. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Slave 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Country Joe & The Fish,
Be Bop Deluxe,
Morten Harket,
Isaac Hayes,
Gil Scott-Heron & Brian Jackson,
Thee Headcoats,
Ten City,
The Techniques,
The Leaves,
Subhumans,
Khruangbin,
The Neon Judgement,
L. Decosne,
Matthew Bourne,
Lindisfarne,
Lou Christie,
Can,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marc Romboy vs. Booka Shade,
Oppenheimer Analysis,
the Human League,
The Mighty Diamonds,
Joey Negro,
Sparks,
8 Eyed Spy,
Brick,
Talk Talk,
The Smiths,
Colin Newman,
Simply Red,
Juan Atkins,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Divine Comedy,
Audionom,
Spandau Ballet,
Ken Boothe,
the Bar-Kays,
Rufus Thomas,
Negative Approach,
Easy Going,
Pantytec,
Scientists,
FM Einheit,
Schoolly D,
The Dirtbombs,
Dual Sessions,
Roger Hodgson,
Sixth Finger,
Jerry's Kids,
Maleditus Sound,
Main Source,
The Barracudas,
Public Image Ltd.,
Bill Near,
Saccharine Trust,
Monks,
Minutemen,
Throbbing Gristle,
Bobby Byrd,
Byron Stingily,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.