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 Bangladesh and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Beijing 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 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 Human League to the jazz kids.
I played it at the Astoria.
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 Sound Behaviour. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Marc Almond 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Howard Jones,
Sun Ra Arkestra,
Echo & the Bunnymen,
Joe Smooth,
Fugazi,
Quantec,
Moby Grape,
Barry Ungar,
JFA,
Wolf Eyes,
Zero Boys,
Avey Tare & Kría Brekkan,
Brand Nubian,
Joyce Sims,
Bobby Hutcherson,
Jesper Dahlback,
Gang Green,
Fluxion,
Von Mondo,
David McCallum,
Bill Wells,
Harpers Bizarre,
Dorothy Ashby,
John Foxx,
Black Bananas,
UT,
T. Rex,
The Martian,
Cal Tjader,
Motorama,
Glenn Branca,
Todd Terry,
MDC,
Major Organ And The Adding Machine,
Morten Harket,
Ralphi Rosario,
cv313,
Circle Jerks,
Con Funk Shun,
Skarface,
Sexual Harrassment,
Shuggie Otis,
In Retrospect,
Rapeman,
Archie Shepp,
Jawbox,
Andrew Ashong & Theo Parrish,
The Angels of Light,
The Flesh Eaters,
Unwound,
Average White Band,
Minor Threat,
Be Bop Deluxe,
Sly & The Family Stone,
Ultra Naté,
Siglo XX,
Eurythmics,
The Knickerbockers,
Surgeon,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.