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 Swaziland and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school Madrid 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 clarinet sounds with much patience.
I was there when David Bowie 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 Doors to the grime kids.
I played it at the Hacienda.
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 Donald Byrd. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every The Velvet Underground 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your marimba and bought a marimba.
I hear that you and your band have sold your marimba and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
The Selecter,
Buzzcocks,
Skaos,
Gary Puckett & The Union Gap,
The Alarm Clocks,
Second Layer,
Tim Buckley,
Thinking Fellers Union Local 282,
Johnny Clarke,
Cabaret Voltaire,
Electric Prunes,
the Bar-Kays,
The New Christs,
Los Fastidios,
Dawn Penn,
Grandmaster Flash,
Kings Of Tomorrow,
The American Breed,
James Chance & The Contortions,
Skarface,
Rapeman,
Faust,
Liaisons Dangereuses,
Deadbeat,
Negative Approach,
Bang On A Can,
Sister Nancy,
Tres Demented,
Guru Guru,
The Grass Roots,
Siouxsie and the Banshees,
Moby Grape,
Make Up,
Dual Sessions,
ABBA,
James White and The Blacks,
David Bowie,
The Kinks,
48th St. Collective,
Marmalade,
Duran Duran,
Pete Rock & C.L. Smooth,
Country Teasers,
Bad Manners,
Vainqueur,
Gregory Isaacs,
Anthony Braxton,
Banda Bassotti,
Bizarre Inc.,
Fugazi,
Sugar Minott,
The Raincoats,
The Dead C,
The Cosmic Jokers,
Richard Hell and the Voidoids,
Fluxion,
Groovy Waters,
Depeche Mode,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.