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 Liechtenstein and from Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Toronto and Seoul.
I'm losing my edge to the art-school Winnipeg 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 clarinet 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 Chrome to the electroclash kids.
I played it at the Crocodile.
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 Moody Blues. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Deakin,
Marshall Jefferson,
Dennis Brown,
The Dead C,
Unrelated Segments,
Byron Stingily,
Japan,
A Flock of Seagulls,
Y Pants,
The Five Americans,
Icehouse,
Skriet,
Sixth Finger,
Kauko Röyhkä ja Narttu,
Fort Wilson Riot,
Fugazi,
Blossom Toes,
U.S. Maple,
John Lydon,
Cameo,
Scratch Acid,
Roxette,
Rhythim Is Rhythim,
The Neon Judgement,
Drive Like Jehu,
Camouflage,
Cal Tjader,
Lou Reed & Metallica,
K-Klass,
One Last Wish,
The Detroit Cobras,
Grauzone,
The Golliwogs,
Ajijia Myrayebe,
the Fania All-Stars,
The Names,
Avey Tare & Kría Brekkan,
Thompson Twins,
Massinfluence,
Arthur Verocai,
Laurel Aitken,
Theoretical Girls,
Roger Hodgson,
The Real Kids,
Gil Scott-Heron and Jamie xx,
Audionom,
Rufus Thomas,
Steve Hackett,
James Chance & The Contortions,
Brand Nubian,
Oneida,
Subhumans,
Scion,
It's A Beautiful Day,
Echo & the Bunnymen,
Scrapy,
the Slits,
Saccharine Trust,
Mark Hollis,
Donny Hathaway,
Supertramp,
Mo-Dettes,
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.