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 Colombia and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
I'm losing my edge to the art-school London 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator 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 Clear Light to the grime kids.
I played it at Trash.
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 The Fortunes. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every The Stooges record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a David Bowie record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Deadbeat,
Livin' Joy,
A Certain Ratio,
Godley & Creme,
Ice-T,
Surgeon,
The Fugs,
Metal Thangz,
Jawbox,
Subhumans,
Joyce Sims,
the Soft Cell,
Saccharine Trust,
JFA,
Marshall Jefferson,
Archie Shepp,
Josef K,
The J.B.'s,
48th St. Collective,
The American Breed,
The Black Dice,
The Neon Judgement,
Stereo Dub,
Al Stewart,
Bronski Beat,
Delta 5,
Khruangbin,
Second Layer,
Hasil Adkins,
Pet Shop Boys,
Masters at Work,
Oblivians,
Selector Dub Narcotic,
John Coltrane,
Minutemen,
Heaven 17,
Tim Buckley,
Loose Ends,
Dorothy Ashby,
Louis and Bebe Barron,
The Star Department,
Sad Lovers and Giants,
Nick Cave & The Bad Seeds,
E-Dancer,
Faust,
The Sound,
Althea and Donna,
The Cramps,
Black Sheep,
Excepter,
Gerry Rafferty,
Dark Day,
The Durutti Column,
Art Ensemble Of Chicago,
Soulsonic Force,
The Move,
Vaughan Mason & Crew,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.