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 Nigeria and from Seoul.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Toronto 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Echospace to the grunge 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 Bobby Byrd. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every The Blues Magoos record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Lungfish,
The Misunderstood,
Red Lorry Yellow Lorry,
Terrestrial Tones,
Bluetip,
Barry Ungar,
Ohio Players,
L. Decosne,
Röyhkä ja Rättö ja Lehtisalo,
Henry Cow,
Sun City Girls,
Zero Boys,
Average White Band,
Oneida,
Lucky Dragons,
Kool G Rap & DJ Polo,
Lou Reed & Metallica,
Dawn Penn,
Dave Gahan,
Ajijia Myrayebe,
Oppenheimer Analysis,
Terror Squad Feat. Camron,
Chrome,
Reuben Wilson,
Drexciya,
Joensuu 1685,
The Doors,
Bill Wells,
Malaria!,
Nation of Ulysses,
Amon Düül II,
Bauhaus,
Echo & the Bunnymen,
John Cale,
Eden Ahbez,
New York Dolls,
The Mighty Diamonds,
Rahsaan Roland Kirk,
Flash Fearless,
Vaughan Mason & Crew,
Jeff Mills,
Larry & the Blue Notes,
the Human League,
Be Bop Deluxe,
Rites of Spring,
Shuggie Otis,
Frankie Knuckles,
Althea and Donna,
Pere Ubu,
Fifty Foot Hose,
Heaven 17,
Newcleus,
Black Bananas,
Bizarre Inc.,
The Angels of Light,
Idris Muhammad,
Swans,
Man Parrish,
Adolescents,
A Flock of Seagulls,
The Evens, The Evens, The Evens, The Evens.
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.