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 Namibia and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Toronto and Hong Kong.
I'm losing my edge to the art-school Taipei 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron 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 Jacques Brel to the funk kids.
I played it at Cafe Wha.
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 Josef K. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox 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?
Ohio Players,
the Association,
Outsiders,
Minutemen,
X-101,
Joe Smooth,
Barclay James Harvest,
Scion,
Soft Cell,
Bronski Beat,
Vladislav Delay,
Junior Murvin,
Harmonia,
Ronnie Foster,
Franke,
Saccharine Trust,
Yazoo,
The Fall,
Ituana,
Brass Construction,
PIL,
Clear Light,
Michelle Simonal,
Von Mondo,
The Dave Clark Five,
Visionaries,LMNO, T- Love & Iriscience,
Archie Shepp,
La Düsseldorf,
Icehouse,
The Modern Lovers,
Heavy D & The Boyz,
Stiv Bators,
Aural Exciters,
48th St. Collective,
Pharaoh Sanders and the Fire Engines,
Rosa Yemen,
U.S. Maple,
Scan 7,
Fat Boys,
The Real Kids,
Janne Schatter,
Shoche,
Bauhaus,
Connie Case,
Peter & Gordon,
Alton Ellis,
Erasure,
Rekid,
The Slits,
The Kinks,
Urselle,
Drive Like Jehu,
Pagans,
Minor Threat,
Röyhkä ja Rättö ja Lehtisalo,
Harry Pussy,
Television Personalities,
Rod Modell,
Monks,
UT,
Au Pairs,
The Sonics,
Visage,
Newcleus, Newcleus, Newcleus, Newcleus.
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.