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 Mauritania and from Mumbai.
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 1969 to 1978.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Bologna 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 harpsichord 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 Bad Manners to the jazz 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 Human League. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal jazz 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 a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Beasts of Bourbon,
Lower 48,
Sister Nancy,
Rites of Spring,
Larry & the Blue Notes,
World's Most,
Peter & Gordon,
Selector Dub Narcotic,
Buzzcocks,
AZ,
The Kinks,
Ultravox,
10cc,
The Jesus and Mary Chain,
Kerri Chandler,
The Modern Lovers,
Wire,
Eric B and Rakim,
The Music Machine,
The Dead C,
The Doors,
The Slits,
Andrew Hill,
X-101,
Mark Hollis,
Crash Course in Science,
The Tremeloes,
Scrapy,
Faust,
Bob Dylan,
The American Breed,
Desert Stars,
Isaac Hayes,
the Fania All-Stars,
Angry Samoans,
Yusef Lateef,
Nils Olav,
Radiohead,
Clear Light,
Cal Tjader,
The Gun Club,
Los Fastidios,
Massinfluence,
The Gories,
Fort Wilson Riot,
U.S. Maple,
Neil Young,
Silicon Teens,
Neu!,
Lyres,
Roger Hodgson,
Jeff Lynne,
Crime,
the Sonics,
Althea and Donna,
Rapeman,
Don Cherry,
Pylon,
Robert Hood,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.