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 Vanuatu and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Toronto and Milan.
I'm losing my edge to the art-school Delhi 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 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 Rowland S Howard / Lydia Lunch to the electroclash kids.
I played it at CBGB's.
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 Dorothy Ashby. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Silicon Teens,
The Index,
Stereo Dub,
Roxette,
Public Image Ltd.,
B.T. Express,
Bizarre Inc.,
Marc Almond,
Sister Nancy,
Spoonie Gee,
Bob Dylan,
Sight & Sound,
The Mojo Men,
John Coltrane,
Donny Hathaway,
Desert Stars,
Faraquet,
June of 44,
Alison Limerick,
Heavy D & The Boyz,
Delta 5,
The Cowsills,
Patti Smith,
Archie Shepp,
Pierre Henry,
Faust,
Cecil Taylor,
The Remains,
Gil Scott-Heron & Brian Jackson,
the Fania All-Stars,
Ponytail,
Strawberry Alarm Clock,
Half Japanese,
Monks,
Echospace,
EPMD,
Derrick Morgan,
Joe Smooth,
Black Sheep,
Buzzcocks,
The Leaves,
Isaac Hayes,
Fela Kuti,
Josef K,
Yazoo,
Rowland S Howard / Lydia Lunch,
The Smiths,
MC5,
Jesper Dahlbäck,
Kango’s Stein Massive,
The Fuzztones,
Al Stewart,
The Stooges,
Au Pairs,
Loose Ends,
Minor Threat,
Yellowson,
The Gun Club,
John Foxx,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.