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 Austria and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Lyon 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 The American Breed to the electroclash kids.
I played it at the Hacienda.
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 Smiths. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
A Flock of Seagulls,
Ornette Coleman,
The Motions,
Hoover,
Fat Boys,
Malaria!,
Echo & the Bunnymen,
Rahsaan Roland Kirk,
OOIOO,
Fifty Foot Hose,
Minutemen,
Louis and Bebe Barron,
The Move,
Echospace,
Ajijia Myrayebe,
Super Lover Cee & Casanova Rud,
Scion,
The Slits,
Rosa Yemen,
The Barracudas,
a-ha,
The Buckinghams,
Joey Negro,
Larry & the Blue Notes,
Sixth Finger,
Magma,
Intrusion,
Minnie Riperton,
the Bar-Kays,
Gichy Dan,
the Human League,
Gang Starr,
Gil Scott-Heron and Jamie xx,
Deepchord,
The Victims,
Rakim,
Smog,
Liliput,
Dawn Penn,
The Techniques,
Rhythm & Sound,
The Seeds,
Dave Gahan,
X-101,
De La Soul & Jungle Brothers,
Ultra Naté,
Mary Jane Girls,
R.M.O.,
The Monochrome Set,
Unrelated Segments,
Average White Band,
FM Einheit,
The Star Department,
Pharaoh Sanders and the Fire Engines,
Little Man,
Rowland S Howard / Lydia Lunch,
Lightning Bolt,
Laurel Aitken,
The Gladiators,
Kas Product,
Brothers Johnson,
The Black Dice,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.