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 Kyrgyzstan and from Copenhagen.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Lille and Houston.
I'm losing my edge to the art-school Lyon 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 synthesizer 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 Outsiders to the rock kids.
I played it at the Roxy.
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 Hot Snakes. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every The Stooges 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
kango's stein massive,
Tears for Fears,
Todd Rundgren,
Lightning Bolt,
The Selecter,
Heaven 17,
Gregory Isaacs,
Ajijia Myrayebe,
Stockholm Monsters,
Camberwell Now,
Nik Kershaw,
Mr. Review,
Spandau Ballet,
Barrington Levy,
Alton Ellis,
Amon Düül II,
Trumans Water,
Adolescents,
Bluetip,
Rufus Thomas,
Bobby Womack,
Yaz,
The Fuzztones,
Visage,
Judy Mowatt,
Urselle,
Jeff Lynne,
Khruangbin,
Sam Rivers,
Avey Tare's Slasher Flicks,
Minutemen,
the Swans,
Index,
Skaos,
Jacques Brel,
Louis and Bebe Barron,
F. McDonald,
Crispy Ambulance,
Traffic Nightmare,
Mantronix,
Connie Case,
Guru Guru,
Mo-Dettes,
Dead Boys,
The Tremeloes,
Mission of Burma,
Godley & Creme,
The Divine Comedy,
DJ Sneak,
The Fire Engines,
Sight & Sound,
Crash Course in Science,
The Offenders,
Patti Smith,
New Age Steppers,
LL Cool J,
Panda Bear,
X-101,
the Human League,
Oneida,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.