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 Croatia and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Delhi.
I'm losing my edge to the art-school Philadelphia 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 oboe sounds with much patience.
I was there when Donald Fagen 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 It's A Beautiful Day to the dance 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 Cluster. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Qualms,
D'Angelo,
The Sound,
The Moleskins,
X-102,
Lou Reed & John Cale,
Bauhaus,
Quantec,
Circle Jerks,
Dead Boys,
Avey Tare's Slasher Flicks,
Freddie Wadling,
Frankie Knuckles,
Stereo Dub,
Anthony Braxton,
Grandmaster Flash,
Tom Boy,
Vainqueur,
Man Parrish,
The Techniques,
Dawn Penn,
8 Eyed Spy,
The Detroit Cobras,
Major Organ And The Adding Machine,
Joey Negro,
K-Klass,
Lou Reed,
John Cale,
Black Flag,
Susan Cadogan,
Joensuu 1685,
New Age Steppers,
Supertramp,
Rotary Connection,
June of 44,
Justin Hinds & The Dominoes,
DJ Style,
The Divine Comedy,
Rhythm & Sound,
Q65,
A Flock of Seagulls,
Absolute Body Control,
Swell Maps,
Procol Harum,
Bronski Beat,
Harmonia,
Minny Pops,
Laurel Aitken,
Massinfluence,
Gian Franco Pienzio,
Ponytail,
The Red Krayola,
Sonic Youth,
Fluxion,
Moby Grape,
Darondo,
Richard Hell and the Voidoids,
Television,
Orchestral Manoeuvres in the Dark,
De La Soul & Jungle Brothers,
The Stooges,
Minor Threat,
The Litter,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.