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 East Timor and from Houston.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school Woodstock 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 Ultra Naté to the jazz kids.
I played it at CBGB's.
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 Roxy Music. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every Yazoo record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
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 Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Althea and Donna,
Gang of Four,
Arcadia,
Steve Hackett,
Beasts of Bourbon,
Malaria!,
Deakin,
The Slackers,
Loose Ends,
Depeche Mode,
Warsaw,
Jacques Brel,
Laurel Aitken,
Jeru the Damaja,
The United States of America,
Pantytec,
Maleditus Sound,
The Monks,
Sam Rivers,
Kayak,
Bootsy's Rubber Band,
Orchestral Manoeuvres in the Dark,
Deepchord,
Country Joe & The Fish,
Hashim,
Darondo,
The Wake,
Marc Romboy vs. Booka Shade,
Average White Band,
Pulsallama,
Be Bop Deluxe,
X-Ray Spex,
MC5,
X-101,
Bang on a Can All-Stars,
Mandrill,
the Slits,
Cluster,
Groovy Waters,
Johnny Clarke,
Circle Jerks,
Eric Dolphy,
Niagra,
Tropical Tobacco,
Index,
Q and Not U,
Lou Christie,
Masters at Work,
Cymande,
Rotary Connection,
the Fania All-Stars,
Alison Limerick,
Minor Threat,
DJ Sneak,
Main Source,
The Walker Brothers,
Michelle Simonal,
Nico, Nico, Nico, Nico.
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.