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 Guyana and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Beijing.
I'm losing my edge to the art-school Bologna 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 oboe 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 Country Teasers to the grime kids.
I played it at the Troubador.
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 Robert Wyatt. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every Eli Mardock 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Radiopuhelimet,
Schoolly D,
Marcia Griffiths,
Pantaleimon,
Sad Lovers and Giants,
DNA,
the Germs,
Captain Beefheart & His Magic Band,
Intrusion,
Cheater Slicks,
10cc,
Lakeside,
The Red Krayola,
Rowland S Howard / Lydia Lunch,
Charles Mingus,
The Fire Engines,
Accadde A,
Idris Muhammad,
Can,
Eden Ahbez,
Cameo,
Selector Dub Narcotic,
The Wake,
Tropical Tobacco,
Peter & Gordon,
Art Ensemble Of Chicago,
Jeff Lynne,
Au Pairs,
Sister Nancy,
LL Cool J,
Stereo Dub,
Mark Hollis,
Lalo Schifrin,
Tomorrow,
Bauhaus,
Peter and Kerry,
Eve St. Jones,
The West Coast Pop Art Experimental Band,
Amazonics,
Robert Görl,
Fad Gadget,
the Slits,
The Fugs,
Excepter,
The Monochrome Set,
Kas Product,
The Golliwogs,
The Gun Club,
The Invisible,
Eddi Front,
Kauko Röyhkä ja Narttu,
The Kinks,
Vladislav Delay,
Rapeman,
UT,
The Seeds,
Jerry Gold Smith,
Joey Negro,
Hashim, Hashim, Hashim, Hashim.
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.