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 Czech Republic and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Salvador 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Hardrive 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 Steve Hackett. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every The Detroit Cobras 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
The Standells,
Marvin Gaye,
FM Einheit,
Arab on Radar,
The Dirtbombs,
Essential Logic,
Grandmaster Flash and the Furious Five,
Aural Exciters,
Technova,
Tommy Roe,
Lyres,
Josef K,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bob Dylan,
the Slits,
48th St. Collective,
Ralphi Rosario,
The Tremeloes,
Brass Construction,
Blossom Toes,
Terry Callier,
Sun Ra,
Kool G Rap & DJ Polo,
Alphaville,
Sonny Sharrock,
Duran Duran,
Teenage Jesus and the Jerks,
LL Cool J,
Faraquet,
Niagra,
Deadbeat,
Ken Boothe,
Spandau Ballet,
Wings,
Echo & the Bunnymen,
Althea and Donna,
Dead Boys,
Ice-T,
Vainqueur,
Hot Snakes,
Howard Jones,
Glambeats Corp.,
Crime,
The Dave Clark Five,
The Happenings,
Hashim,
Man Parrish,
Strawberry Alarm Clock,
Metal Thangz,
Bang On A Can,
ABC,
Unwound,
Amazonics,
Be Bop Deluxe,
Gastr Del Sol,
Dave Gahan,
Subhumans, Subhumans, Subhumans, Subhumans.
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.