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 Argentina and from Mumbai.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Lagos and Bologna.
I'm losing my edge to the art-school Hong Kong 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 Big Star practice in a loft in Memphis.
I was working on the theremin 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 The Kinks to the punk 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 Harmonia. All the underground hits.
All Fifty Foot Hose tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Lou Reed,
The Walker Brothers,
Blossom Toes,
The Star Department,
Jacob Miller,
Half Japanese,
AZ,
Easy Going,
Eric Dolphy,
David Axelrod,
Second Layer,
MDC,
The Seeds,
Hardrive,
Justin Hinds & The Dominoes,
Model 500,
Jeff Lynne,
Hashim,
Silicon Teens,
Strawberry Alarm Clock,
David McCallum,
Albert Ayler,
Tim Buckley,
Scott Walker + Sunn O))),
Sun Ra Arkestra,
Kool G Rap & DJ Polo,
The Music Machine,
The Selecter,
Terry Callier,
Accadde A,
La Düsseldorf,
Henry Cow,
Lightning Bolt,
Gang of Four,
Ohio Players,
Chris Corsano,
Unrelated Segments,
Erasure,
Mr. Review,
The Black Dice,
Desert Stars,
Godley & Creme,
Cymande,
The Gap Band,
The Stooges,
The Durutti Column,
Circle Jerks,
Lebanon Hanover,
The Cosmic Jokers,
Lee Hazlewood,
Slick Rick,
Eden Ahbez,
Pantaleimon,
R.M.O.,
Anakelly,
The Mummies,
Minny Pops,
Magazine,
The Pop Group,
Bootsy Collins,
Icehouse,
Oneida,
Surgeon,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.