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 Cameroon and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Madrid and Madrid.
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 sitar sounds with much patience.
I was there when Lou Reed 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 Velvet Underground to the rap kids.
I played it at CBGB's.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Oneida 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Erasure,
Curtis Mayfield,
Circle Jerks,
The Birthday Party,
Sonic Youth,
Peter & Gordon,
Gichy Dan,
Grey Daturas,
Soft Machine,
Absolute Body Control,
Warsaw,
John Holt,
Youth Brigade,
Au Pairs,
Aloha Tigers,
Jesper Dahlback,
Babytalk,
The J.B.'s,
Delon & Dalcan,
The Count Five,
Man Parrish,
Bluetip,
The Men They Couldn't Hang,
Kas Product,
Sarah Menescal,
Leonard Cohen,
Angels of Light & Akron/Family,
Pole,
The Sound,
Sad Lovers and Giants,
Deepchord,
Organ,
Be Bop Deluxe,
Barclay James Harvest,
Infiniti,
Franke,
The Doors,
Minnie Riperton,
James Chance & The Contortions,
Rowland S Howard / Lydia Lunch,
Boogie Down Productions,
Bad Manners,
The Slackers,
The Move,
Pantaleimon,
The Doobie Brothers,
Larry & the Blue Notes,
Archie Shepp,
Faust,
Pet Shop Boys,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gang Green,
Cameo,
Neil Young & Crazy Horse,
Fifty Foot Hose,
Animal Collective,
Big Daddy Kane,
Gang Starr,
MDC,
The Searchers,
the Association, the Association, the Association, the Association.
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.