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 Tunisia and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Spokane and Spokane.
I'm losing my edge to the art-school Halifax 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 guitar sounds with much patience.
I was there when Michael McDonald 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 The Index to the grime kids.
I played it at the Troubador.
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 Boogie Down Productions. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Leonard Cohen 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 '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Dawn Penn,
Pole,
Visage,
Jacques Brel,
Gil Scott-Heron and Jamie xx,
Big Daddy Kane,
Jawbox,
Cecil Taylor,
Quadrant,
Sister Nancy,
Alton Ellis,
Blossom Toes,
Radiopuhelimet,
Robert Görl,
The Victims,
Schoolly D,
Aaron Thompson,
Charles Mingus,
Sight & Sound,
Ossler,
The Neon Judgement,
Lucky Dragons,
Heaven 17,
The Names,
Dennis Brown,
Gil Scott Heron,
Negative Approach,
Frankie Knuckles,
Grandmaster Flash and the Furious Five,
Bob Dylan,
Sonny Sharrock,
Roxette,
Gang Green,
Bobby Byrd,
Black Flag,
Marc Almond,
Quando Quango,
Robert Hood,
48th St. Collective,
Byron Stingily,
Peter Gordon & Love of Life Orchestra,
The Walker Brothers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Arab on Radar,
Country Joe & The Fish,
The Skatalites,
Derrick May,
Animal Collective,
Grauzone,
Al Stewart,
Clear Light,
Avey Tare's Slasher Flicks,
Gregory Isaacs,
The Sonics,
One Last Wish,
Thompson Twins,
The Real Kids,
The Martian,
The Happenings,
Prince Buster,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.