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 Slovakia and from Salvador.
But I was there.
I was there in .
I was there at the first Suicide 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 1969 to 1970.
I'm losing my edge.
To all the kids in Houston and Tokyo.
I'm losing my edge to the art-school Woodstock 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 mellotron 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 Hashim to the grunge kids.
I played it at the Crocodile.
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 the Human League. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal rock 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 a synthesizer and an organ 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 mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Patti Smith,
Notorious BIG live in Amsterdam,
Aswad,
Kauko Röyhkä ja Narttu,
It's A Beautiful Day,
Cameo,
Beasts of Bourbon,
Jawbox,
Gil Scott-Heron and Jamie xx,
Sandy B,
Tropical Tobacco,
Little Man,
The Last Poets,
Barry Ungar,
Stetsasonic,
Amon Düül,
Theoretical Girls,
Surgeon,
Brass Construction,
Eric Copeland,
Intrusion,
R.M.O.,
Average White Band,
The Raincoats,
Lou Reed & Metallica,
Urselle,
Glenn Branca,
Black Moon,
Kerri Chandler,
Echo & the Bunnymen,
Ken Boothe,
Janne Schatter,
Reuben Wilson,
John Lydon,
Skarface,
Boz Scaggs,
Gil Scott Heron,
John Coltrane,
Infiniti,
Yusef Lateef,
Hoover,
Warren Ellis,
The Chocolate Watch Band,
Kango’s Stein Massive,
Young Marble Giants,
Fat Boys,
Echospace,
Warsaw,
Ludus,
Bad Manners,
Arthur Verocai,
Black Bananas,
Desert Stars,
The Gap Band,
Nick Cave & The Bad Seeds,
Deakin,
The Shadows of Knight,
New York Dolls,
Charles Mingus,
The Human League,
Symarip,
Ituana, Ituana, Ituana, Ituana.
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.