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 Comoros and from Accra.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Paris.
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 Interpol to the dance kids.
I played it at the Troubador.
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 Max Romeo. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Essential Logic,
Ultimate Spinach,
The Alarm Clocks,
Oblivians,
Infiniti,
Panda Bear,
Deadbeat,
John Lydon,
Wings,
The Move,
OOIOO,
Kayak,
Roy Ayers Ubiquity,
Louis and Bebe Barron,
Kaleidoscope,
This Heat,
Pussy Galore,
Sight & Sound,
New York Dolls,
The J.B.'s,
The Divine Comedy,
Gabor Szabo,
Deakin,
Von Mondo,
X-Ray Spex,
Brand Nubian,
Minor Threat,
Technova,
Jesper Dahlback,
Bootsy Collins,
the Bar-Kays,
H. Thieme,
Slave,
Harpers Bizarre,
Kevin Saunderson,
Michelle Simonal,
Ultravox,
Q and Not U,
Joyce Sims,
Moby Grape,
Guru Guru,
David Bowie,
Davy DMX,
Tres Demented,
DJ Sneak,
Soft Cell,
The Associates,
Ossler,
Scion,
Sparks,
Robert Wyatt,
The Techniques,
Piero Umiliani,
Terry Callier,
Niagra,
Rakim,
Hot Snakes,
Crispy Ambulance,
Lou Reed & John Cale,
Johnny Clarke,
Masters at Work,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.