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 Tuvalu and from Madrid.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Beijing and Manila.
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 synthesizer 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 Red Lorry Yellow Lorry to the grunge 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 Stiv Bators. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every The Five Americans record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Lou Reed,
T.S.O.L.,
Deutsch Amerikanische Freundschaft,
Lizzy Mercier Descloux,
Masters at Work,
The Modern Lovers,
Slave,
Robert Hood,
Don Cherry,
Alton Ellis,
Alison Limerick,
Art Ensemble Of Chicago,
Crispian St. Peters,
Franke,
Bobby Hutcherson,
Panda Bear,
Ken Boothe,
Hashim,
Red Lorry Yellow Lorry,
The Jesus and Mary Chain,
Josef K,
Niagra,
Piero Umiliani,
Flash Fearless,
Traffic Nightmare,
The Alarm Clocks,
Grauzone,
Crooked Eye,
Television,
Patti Smith,
Ronan,
Radiopuhelimet,
Parry Music,
Spandau Ballet,
Brick,
Barrington Levy,
Graham Central Station,
The Sonics,
Heaven 17,
Adolescents,
Von Mondo,
The Star Department,
Kings Of Tomorrow,
The Smoke,
Simply Red,
Glambeats Corp.,
Fela Kuti,
The Dave Clark Five,
Orchestral Manoeuvres in the Dark,
Country Teasers,
Ice-T,
Roy Ayers,
Delta 5,
Public Enemy,
Iggy Pop,
Sex Pistols,
Fugazi,
The Dirtbombs,
The Motions,
New Order, New Order, New Order, New Order.
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.