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 Qatar and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1978.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Manila 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 Cowsills to the electroclash kids.
I played it at the Hacienda.
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 CMW. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Dead Boys 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 '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Idris Muhammad,
D'Angelo,
Sex Pistols,
Heaven 17,
Blancmange,
the Soft Cell,
Animal Collective,
The Sound,
Cecil Taylor,
Heavy D & The Boyz,
Warsaw,
The Flesh Eaters,
Aaron Thompson,
The Remains,
Beasts of Bourbon,
Big Daddy Kane,
Popol Vuh,
Eyeless In Gaza,
Camouflage,
Niagra,
The Gladiators,
Monks,
Avey Tare,
Man Parrish,
The Barracudas,
Adolescents,
John Lydon,
Chrome,
James White and The Blacks,
Captain Beefheart & His Magic Band,
Röyhkä ja Rättö ja Lehtisalo,
Pagans,
Lebanon Hanover,
PIL,
Wighnomy Brothers & Robag Wruhme,
Dead Boys,
Steve Hackett,
DJ Style,
Absolute Body Control,
Maleditus Sound,
John Holt,
the Swans,
Bizarre Inc.,
Harry Pussy,
Little Man,
Tres Demented,
Ronan,
the Slits,
Deakin,
Simply Red,
Girls At Our Best!,
John Coltrane,
Strawberry Alarm Clock,
Notorious Big And Bone Thugs,
John Cale,
Theoretical Girls,
Public Image Ltd.,
Excepter,
Orchestral Manoeuvres in the Dark,
Ajijia Myrayebe,
The Real Kids,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.