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 Liberia and from Milan.
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 1977.
I'm losing my edge.
To all the kids in Bremen and Calgary.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar 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 Ituana to the electroclash 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 Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Porter Ricks,
Jimmy McGriff,
Tears for Fears,
Ash Ra Tempel,
London Community Gospel Choir,
Bizarre Inc.,
Fugazi,
Stiv Bators,
Isaac Hayes,
Lalo Schifrin,
Bootsy Collins,
Robert Hood,
Loose Ends,
The Detroit Cobras,
Tres Demented,
Youth Brigade,
Arcadia,
Aloha Tigers,
Bob Dylan,
The Names,
The Blues Magoos,
World's Most,
Ronan,
Y Pants,
Slave,
Public Image Ltd.,
David Axelrod,
Röyhkä ja Rättö ja Lehtisalo,
Nirvana,
Siouxsie and the Banshees,
Neil Young,
Jeff Lynne,
Albert Ayler,
Silicon Teens,
Gang Green,
Crooked Eye,
Cheater Slicks,
Von Mondo,
Panda Bear,
Nation of Ulysses,
Delon & Dalcan,
James Chance & The Contortions,
Banda Bassotti,
Bill Wells,
Howard Jones,
The Smiths,
The Grass Roots,
Joensuu 1685,
Sad Lovers and Giants,
New Order,
Liaisons Dangereuses,
Eric B and Rakim,
Visage,
The Kinks,
Procol Harum,
Khruangbin,
Country Joe & The Fish,
Scion,
Bang on a Can All-Stars,
Ronnie Foster,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.