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 San Marino and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school New York 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Radio Birdman to the rock kids.
I played it at the 40 Watt.
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 The Litter. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Teenage Jesus and the Jerks,
Joy Division,
Gabor Szabo,
Rakim,
the Swans,
Sonny Sharrock,
Qualms,
Icehouse,
Byron Stingily,
Stockholm Monsters,
Terror Squad Feat. Camron,
World's Most,
Janne Schatter,
Gang Starr,
Whodini,
Fear,
Public Enemy,
Q and Not U,
Nik Kershaw,
Grauzone,
Ornette Coleman,
Louis and Bebe Barron,
Funky Four + One,
U.S. Maple,
The Gladiators,
Basic Channel,
EPMD,
Eric Copeland,
Maurizio,
Orchestral Manoeuvres in the Dark,
Colin Newman,
Piero Umiliani,
Kevin Saunderson,
The Real Kids,
Lucky Dragons,
John Cale,
Heaven 17,
Kayak,
Symarip,
Chris & Cosey,
Andrew Ashong & Theo Parrish,
Flamin' Groovies,
Guru Guru,
Fat Boys,
Albert Ayler,
T. Rex,
David McCallum,
Mantronix,
The Divine Comedy,
Bush Tetras,
Boredoms,
Lakeside,
Graham Central Station,
Maleditus Sound,
Massinfluence,
The Five Americans,
Bad Manners,
Adolescents,
Rod Modell,
the Normal,
Metal Thangz,
Scott Walker,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.