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 Czech Republic and from Cairo.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Salvador 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Sparks to the punk kids.
I played it at the Spitz.
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 Nirvana. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal disco 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 rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Chris & Cosey,
Chrome,
The Mummies,
Sugar Minott,
The United States of America,
John Coltrane,
London Community Gospel Choir,
The Golliwogs,
Black Bananas,
Erykah Badu,
It's A Beautiful Day,
Terry Callier,
Absolute Body Control,
Rahsaan Roland Kirk,
Junior Murvin,
Blake Baxter,
Pulsallama,
Susan Cadogan,
Don Cherry,
Bill Near,
Crooked Eye,
Sällskapet,
Scott Walker,
Stiv Bators,
Loose Ends,
Bauhaus,
48th St. Collective,
Ultramagnetic MC's,
Nirvana,
DeepChord presents Echospace,
Dead Boys,
The Litter,
The Gap Band,
Darondo,
Jeru the Damaja,
Lyres,
Mad Mike,
Procol Harum,
Howard Jones,
The Fortunes,
Boz Scaggs,
Hot Snakes,
Bang on a Can All-Stars,
Deakin,
Drexciya,
Faust,
Matthew Halsall,
Erasure,
Marc Romboy vs. Booka Shade,
Rowland S Howard / Lydia Lunch,
Scrapy,
James Chance & The Contortions,
The Barracudas,
John Foxx,
Khruangbin,
The Trojans,
R.M.O.,
Eric Dolphy,
Echospace,
Bluetip,
Major Organ And The Adding Machine,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.