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 Liberia and from Lyon.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Columbus and Lille.
I'm losing my edge to the art-school Seoul 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Bob Dylan to the jazz kids.
I played it at Trash.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Amon Düül II,
Eric Copeland,
Don Cherry,
Lizzy Mercier Descloux,
Roger Hodgson,
Traffic Nightmare,
This Heat,
The Evens,
Lee Hazlewood,
Drexciya,
Masters at Work,
Jandek,
the Association,
Young Marble Giants,
Excepter,
Faraquet,
The Dead C,
Sonny Sharrock,
The Mighty Diamonds,
Beasts of Bourbon,
The Red Krayola,
Youth Brigade,
Gang of Four,
Half Japanese,
Louis and Bebe Barron,
Fela Kuti,
Brand Nubian,
K-Klass,
Jeru the Damaja,
Arab on Radar,
The Skatalites,
Icehouse,
cv313,
The Royal Family And The Poor,
Ultra Naté,
Hashim,
Carl Craig,
Todd Terry,
Radio Birdman,
Suburban Knight,
Soulsonic Force,
Crime,
James White and The Blacks,
Ludus,
Depeche Mode,
Joey Negro,
Lou Reed,
Outsiders,
Oblivians,
Grandmaster Flash and the Furious Five,
The Associates,
Pantaleimon,
Orchestral Manoeuvres in the Dark,
Visage,
The Angels of Light,
Dead Boys,
Faust,
Jesper Dahlbäck,
The Remains,
Intrusion,
T. Rex,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.