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 Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Taipei and Tehran.
I'm losing my edge to the art-school Seoul 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 sitar 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 Barclay James Harvest to the funk kids.
I played it at the Spitz.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Peter and Kerry 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Ponytail,
The Leaves,
Jeru the Damaja,
Darondo,
Cymande,
Matthew Halsall,
Kauko Röyhkä ja Narttu,
Joensuu 1685,
Q and Not U,
Gastr Del Sol,
Babytalk,
Kerri Chandler,
Lafayette Afro Rock Band,
Richard Hell and the Voidoids,
Warren Ellis,
Au Pairs,
Kevin Saunderson,
Gichy Dan,
the Swans,
Sun Ra Arkestra,
Juan Atkins,
Roy Ayers,
Gabor Szabo,
Ossler,
Oneida,
Gary Puckett & The Union Gap,
B.T. Express,
Joe Smooth,
Reagan Youth,
Neu!,
Brick,
The Cowsills,
Joe Finger,
Godley & Creme,
UT,
Pete Rock & C.L. Smooth,
Oppenheimer Analysis,
Electric Light Orchestra,
The Motions,
Fifty Foot Hose,
The Kinks,
MDC,
Unwound,
Ice-T,
Cabaret Voltaire,
Fugazi,
Mantronix,
Scott Walker,
Andrew Ashong & Theo Parrish,
Black Pus,
Maurizio,
Roxette,
Steve Hackett,
The United States of America,
The Red Krayola,
Major Organ And The Adding Machine,
The Searchers,
Flash Fearless,
DNA, DNA, DNA, DNA.
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.