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 Montenegro and from Bologna.
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 1979.
I'm losing my edge.
To all the kids in Edmonton and Cairo.
I'm losing my edge to the art-school Lille 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 Captain Beefheart 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 Dual Sessions to the techno kids.
I played it at the 40 Watt.
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 Blossom Toes. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Nico,
Neil Young,
Zapp,
Archie Shepp,
Lalo Schifrin,
Barbara Tucker,
Public Image Ltd.,
Mandrill,
June of 44,
Donald Byrd,
Red Lorry Yellow Lorry,
Clear Light,
Stereo Dub,
Guru Guru,
Don Cherry,
Traffic Nightmare,
The Selecter,
Camberwell Now,
Gang of Four,
The Pop Group,
Beasts of Bourbon,
Lebanon Hanover,
Kango’s Stein Massive,
L. Decosne,
The Fuzztones,
Dorothy Ashby,
Drexciya,
Underground Resistance,
Godley & Creme,
The Skatalites,
The Alarm Clocks,
Patti Smith,
Marc Almond,
In Retrospect,
Dead Boys,
London Community Gospel Choir,
Jerry Gold Smith,
Lou Reed,
The Real Kids,
Marmalade,
Monks,
Nas,
Fifty Foot Hose,
Yusef Lateef,
Kurtis Blow,
The United States of America,
John Cale,
Lakeside,
The Stooges,
Bobby Womack,
Boredoms,
The Chocolate Watch Band,
Robert Görl,
Bang on a Can All-Stars,
Orchestral Manoeuvres in the Dark,
Bootsy Collins,
the Human League, the Human League, the Human League, the Human League.
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.