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 Stockholm.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Jakarta.
I'm losing my edge to the art-school Stockholm 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 sitar 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 Five Americans to the rap kids.
I played it at the Astoria.
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 Mark Hollis. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Roy Ayers,
The Index,
Mad Mike,
World's Most,
Yazoo,
Jeru the Damaja,
Suburban Knight,
Bronski Beat,
Yusef Lateef,
Bill Near,
Pantaleimon,
Grandmaster Flash and the Furious Five,
The Raincoats,
Louis and Bebe Barron,
Shoche,
Dorothy Ashby,
Wighnomy Brothers & Robag Wruhme,
The Dirtbombs,
Minutemen,
Smog,
Quando Quango,
Isaac Hayes,
Gregory Isaacs,
Marine Girls,
Ultimate Spinach,
Donald Byrd,
Dr. Dre and Snoop Doggy Dog,
Swans,
Barclay James Harvest,
Teenage Jesus and the Jerks,
Massinfluence,
The Divine Comedy,
The Searchers,
Hashim,
Q and Not U,
Sparks,
Severed Heads,
Crispian St. Peters,
Marcia Griffiths,
Khruangbin,
Half Japanese,
Young Marble Giants,
Gong,
Country Teasers,
Jandek,
Major Organ And The Adding Machine,
Delon & Dalcan,
Lebanon Hanover,
Jacob Miller,
Amazonics,
Amon Düül II,
Ken Boothe,
Ossler,
The Walker Brothers,
Public Image Ltd.,
Deakin,
Hardrive,
Erasure,
Roxy Music,
Kool Moe Dee,
Ralphi Rosario,
Joy Division,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.