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 Dominican Republic and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 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 Smiths to the rock kids.
I played it at the Troubador.
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 Detroit Cobras. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every The J.B.'s record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
AZ,
Andrew Ashong & Theo Parrish,
Albert Ayler,
Sam Rivers,
Electric Light Orchestra,
Junior Murvin,
the Germs,
Danielle Patucci,
Fatback Band,
Erasure,
EPMD,
Arthur Verocai,
The Victims,
Magazine,
The Pop Group,
MC5,
Mark Hollis,
Roger Hodgson,
FM Einheit,
The Busters,
Negative Approach,
Röyhkä ja Rättö ja Lehtisalo,
Super Lover Cee & Casanova Rud,
Bauhaus,
Circle Jerks,
Bobby Hutcherson,
Dennis Brown,
Pantytec,
Chrome,
Sparks,
Anthony Braxton,
Wolf Eyes,
The Slackers,
Curtis Mayfield,
Pharaoh Sanders and the Fire Engines,
Faraquet,
Sun City Girls,
the Association,
Silicon Teens,
Bad Manners,
Davy DMX,
Zero Boys,
Index,
E-Dancer,
Moss Icon,
Bush Tetras,
Wally Richardson,
Monolake,
The Music Machine,
Echospace,
Stiv Bators,
The Sound,
Larry & the Blue Notes,
Rakim,
Lungfish,
T. Rex,
Bootsy's Rubber Band,
Wasted Youth,
Lindisfarne,
Angels of Light & Akron/Family,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.