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 Portugal and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Calgary and Beijing.
I'm losing my edge to the art-school Philadelphia 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 Joe Finger to the techno kids.
I played it at the Astoria.
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 Yazoo. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal jazz 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 a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Heavy D & The Boyz,
Sugar Minott,
Mandrill,
The Mojo Men,
The United States of America,
Janne Schatter,
Man Eating Sloth,
Nation of Ulysses,
Dennis Brown,
Gichy Dan,
The Fall,
Sparks,
Throbbing Gristle,
Ronan,
New York Dolls,
Flamin' Groovies,
10cc,
Terrestrial Tones,
The Mummies,
Funkadelic,
Pylon,
Japan,
Strawberry Alarm Clock,
The Monks,
The Remains,
Barclay James Harvest,
China Crisis,
The Doors,
cv313,
DNA,
Scott Walker + Sunn O))),
Gong,
Marshall Jefferson,
Gil Scott Heron,
Frankie Knuckles,
Bob Dylan,
Anakelly,
Masters at Work,
The Offenders,
Easy Going,
Shoche,
Von Mondo,
Sixth Finger,
Peter Gordon & Love of Life Orchestra,
Talk Talk,
Bobby Byrd,
Animal Collective,
Marc Almond,
The West Coast Pop Art Experimental Band,
Warsaw,
Rowland S Howard / Lydia Lunch,
Pantaleimon,
Motorama,
The Electric Prunes,
The Victims,
Blake Baxter,
Wolf Eyes,
Robert Wyatt,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.