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 Laos and from Portland.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 Houston and Beijing.
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 rhodes 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 Doors to the rock kids.
I played it at the Troubador.
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 Porter Ricks. All the underground hits.
All Gong tracks. I heard you have a vinyl of every The Martian 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 a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Black Pus,
Curtis Mayfield,
Rotary Connection,
Ossler,
John Cale,
Ludus,
Justin Hinds & The Dominoes,
Arcadia,
Amon Düül II,
Skaos,
Black Sheep,
Judy Mowatt,
Fela Kuti,
Henry Cow,
Pole,
New Order,
Franke,
Subhumans,
Johnny Osbourne,
Funky Four + One,
the Fania All-Stars,
Deepchord,
Joe Finger,
David Bowie,
Symarip,
Dawn Penn,
Notorious BIG live in Amsterdam,
The Durutti Column,
Barrington Levy,
Qualms,
Dorothy Ashby,
The Residents,
Terry Callier,
Howard Jones,
The Sonics,
ABBA,
Cheater Slicks,
Sticky Fingaz feat. Raekwon,
Underground Resistance,
Josef K,
Mad Mike,
OOIOO,
De La Soul & Jungle Brothers,
A Flock of Seagulls,
Jeff Mills,
Lizzy Mercier Descloux,
Boredoms,
Model 500,
One Last Wish,
The Pop Group,
New Age Steppers,
Agent Orange,
The Alarm Clocks,
Marcia Griffiths,
Sex Pistols,
Rhythim Is Rhythim,
Sexual Harrassment,
Kayak,
Sam Rivers,
Robert Wyatt,
Kurtis Blow,
Chris & Cosey,
Index,
Eric Dolphy,
the Association, the Association, the Association, the Association.
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.