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 Senegal and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Calgary 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 clarinet 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 The Pretty Things to the jazz 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 Desert Stars. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Camron Feat. Memphis Bleek And Beenie Seigel,
Peter & Gordon,
Pagans,
Strawberry Alarm Clock,
Isaac Hayes,
Steve Hackett,
Liaisons Dangereuses,
Letta Mbulu,
DJ Style,
Gichy Dan,
the Sonics,
a-ha,
Eli Mardock,
Barbara Tucker,
Tres Demented,
The Slackers,
Jerry Gold Smith,
Man Parrish,
Soft Machine,
MDC,
Blake Baxter,
Lafayette Afro Rock Band,
Flash Fearless,
Sunsets and Hearts,
Thinking Fellers Union Local 282,
Delon & Dalcan,
Boz Scaggs,
Andrew Ashong & Theo Parrish,
the Soft Cell,
Monks,
Maurizio,
Soul II Soul,
Rosa Yemen,
Sun City Girls,
Hot Snakes,
Skarface,
Dr. Dre and Snoop Doggy Dog,
Gastr Del Sol,
Toni Rubio,
The Walker Brothers,
The Velvet Underground,
The Selecter,
Notorious Big And Bone Thugs,
DeepChord presents Echospace,
Barclay James Harvest,
Anakelly,
T. Rex,
Public Enemy,
the Germs,
Procol Harum,
The Real Kids,
Danielle Patucci,
Nick Cave & The Bad Seeds,
Infiniti,
Moss Icon,
Bad Manners,
The Fuzztones,
the Human League,
Grandmaster Flash,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.