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 Mexico and from Toronto.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Tehran and Lille.
I'm losing my edge to the art-school Hong Kong 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Sister Nancy 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 Detroit Cobras. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every E-Dancer 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Terrestrial Tones,
The Motions,
Magazine,
The Pop Group,
James White and The Blacks,
Cabaret Voltaire,
ABBA,
Flipper,
The Index,
Terry Callier,
Stetsasonic,
Television,
Chris & Cosey,
the Sonics,
The Black Dice,
Joyce Sims,
Ultramagnetic MC's,
Thee Headcoats,
Severed Heads,
Skaos,
Newcleus,
Sly & The Family Stone,
Jimmy McGriff,
Sarah Menescal,
Intrusion,
Marshall Jefferson,
L. Decosne,
Funkadelic,
Siouxsie and the Banshees,
Arab on Radar,
Dr. Dre and Snoop Doggy Dog,
Ajijia Myrayebe,
Juan Atkins,
Dorothy Ashby,
Au Pairs,
Neu!,
Bauhaus,
Duran Duran,
Gabor Szabo,
The United States of America,
Symarip,
Eli Mardock,
Avey Tare's Slasher Flicks,
John Cale,
Sun Ra,
Surgeon,
The Moody Blues,
Negative Approach,
Ituana,
Gong,
Quadrant,
Excepter,
Max Romeo,
Ultra Naté,
Sun Ra Arkestra,
kango's stein massive,
Basic Channel,
Susan Cadogan,
Tim Buckley,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.