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 Kazakhstan and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Accra and Calgary.
I'm losing my edge to the art-school Lagos 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 arpeggiator 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 Cabaret Voltaire to the techno kids.
I played it at Trash.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar 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 Bar-Kays,
Dead Boys,
Gong,
The Velvet Underground,
Absolute Body Control,
The Stooges,
The Saints,
Ralphi Rosario,
The Peanut Butter Conspiracy,
Bill Near,
Toni Rubio,
Stiv Bators,
Stockholm Monsters,
Lou Reed & John Cale,
Lebanon Hanover,
Tomorrow,
Y Pants,
Gichy Dan,
The Monks,
This Heat,
8 Eyed Spy,
Hot Snakes,
Wings,
Boredoms,
Pylon,
The Tremeloes,
The Alarm Clocks,
Soul II Soul,
Marcia Griffiths,
John Foxx,
Bronski Beat,
Television Personalities,
Babytalk,
Pulsallama,
Donny Hathaway,
Eve St. Jones,
John Cale,
Josef K,
Gerry Rafferty,
Röyhkä ja Rättö ja Lehtisalo,
Man Parrish,
Thee Headcoats,
Supertramp,
Oppenheimer Analysis,
Cluster,
Sparks,
Liliput,
Wally Richardson,
The Fortunes,
Cal Tjader,
The Standells,
Lizzy Mercier Descloux,
Davy DMX,
The American Breed,
In Retrospect,
Gian Franco Pienzio,
Arab on Radar,
Blancmange,
the Slits,
Animal Collective,
Reagan Youth,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.