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 France and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Manila and Winnipeg.
I'm losing my edge to the art-school Manila 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 güiro 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 Black Bananas to the jazz 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 Don Cherry. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
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 Sunsets and Hearts record.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Sällskapet,
Glenn Branca,
London Community Gospel Choir,
Fatback Band,
Radiopuhelimet,
The Mojo Men,
A Flock of Seagulls,
Rhythm & Sound,
The Dirtbombs,
Amon Düül II,
Amon Düül,
Magazine,
Gang Gang Dance,
Spandau Ballet,
Lee Hazlewood,
Wolf Eyes,
Masters at Work,
Bob Dylan,
Average White Band,
Lizzy Mercier Descloux,
Arab on Radar,
Black Sheep,
Sly & The Family Stone,
Isaac Hayes,
Robert Görl,
Franke,
The Doors,
Roy Ayers Ubiquity,
Gregory Isaacs,
Harpers Bizarre,
Sparks,
Röyhkä ja Rättö ja Lehtisalo,
Absolute Body Control,
Young Marble Giants,
Subhumans,
F. McDonald,
The Associates,
the Association,
Johnny Clarke,
Neu!,
Grauzone,
Cymande,
Mark Hollis,
The Busters,
Brothers Johnson,
Dennis Brown,
Roger Hodgson,
Ken Boothe,
Spoonie Gee,
The Neon Judgement,
Avey Tare's Slasher Flicks,
The Seeds,
Gong,
Country Joe & The Fish,
Zero Boys,
De La Soul & Jungle Brothers,
Pussy Galore,
The Royal Family And The Poor,
The Gap Band,
Wasted Youth,
Cybotron,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.