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 St Kitts & Nevis and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and New York.
I'm losing my edge to the art-school Edmonton 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 linndrum 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 Fugazi to the electroclash kids.
I played it at the Roxy.
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 Alarm Clocks. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal punk 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 a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
The Blues Magoos,
The Invisible,
Metal Thangz,
Saccharine Trust,
Marcia Griffiths,
kango's stein massive,
Godley & Creme,
Little Man,
Interpol,
Lyres,
Au Pairs,
The Skatalites,
Marc Romboy vs. Booka Shade,
Main Source,
Simply Red,
Byron Stingily,
Todd Rundgren,
Terrestrial Tones,
Bauhaus,
Sam Rivers,
The Shadows of Knight,
Zapp,
The Barracudas,
Josef K,
Nation of Ulysses,
Joe Smooth,
Oneida,
Davy DMX,
Eddi Front,
The Fall,
cv313,
The Velvet Underground,
The Five Americans,
The Sisters of Mercy,
Röyhkä ja Rättö ja Lehtisalo,
Groovy Waters,
Quadrant,
The Durutti Column,
Louis and Bebe Barron,
Ice-T,
Barbara Tucker,
Outsiders,
Sugar Minott,
Deadbeat,
the Human League,
Bootsy's Rubber Band,
Beasts of Bourbon,
Roxette,
Mark Hollis,
Schoolly D,
Pantaleimon,
Man Eating Sloth,
Dead Boys,
Quando Quango,
Barclay James Harvest,
Grauzone,
Robert Hood,
Robert Görl,
the Normal,
Shuggie Otis,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.