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 Slovenia and from New York.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Salvador and Calgary.
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 harpsichord 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 Maurizio to the dance kids.
I played it at the Spitz.
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 Masters at Work. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Siouxsie and the Banshees 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Wolf Eyes,
Drexciya,
Althea and Donna,
Orchestral Manoeuvres in the Dark,
Boogie Down Productions,
Judy Mowatt,
The Vogues,
Ponytail,
Lou Reed,
Youth Brigade,
Mandrill,
Moebius,
Radiopuhelimet,
Mark Hollis,
Jacob Miller,
Procol Harum,
Rowland S Howard / Lydia Lunch,
Todd Terry,
Throbbing Gristle,
Heavy D & The Boyz,
MDC,
Tom Boy,
K-Klass,
Kings Of Tomorrow,
Jerry Gold Smith,
Agitation Free,
Aswad,
Jesper Dahlbäck,
Eyeless In Gaza,
Rufus Thomas,
Ohio Players,
Letta Mbulu,
Echospace,
Slave,
Ultravox,
Grandmaster Flash and the Furious Five,
The Jesus and Mary Chain,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bill Wells,
Altered Images,
X-101,
Robert Wyatt,
Eurythmics,
Moby Grape,
MC5,
Mo-Dettes,
Louis and Bebe Barron,
The Litter,
Surgeon,
The Stooges,
Das Ding,
Alison Limerick,
Ossler,
Visage,
Captain Beefheart & His Magic Band,
Beasts of Bourbon,
June of 44,
Stockholm Monsters,
Pere Ubu,
The Seeds,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.