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 Trinidad & Tobago and from Shanghai.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
I'm losing my edge to the art-school Winnipeg 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 güiro 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 Fugazi to the rap 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 Bob Dylan. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal grime 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 sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Ultravox,
Blossom Toes,
Amon Düül II,
The Detroit Cobras,
Half Japanese,
Das Ding,
Alice Coltrane,
Supertramp,
Sun Ra Arkestra,
Pharoah Sanders,
Black Sheep,
Siouxsie and the Banshees,
Donald Byrd,
Minnie Riperton,
the Association,
Electric Prunes,
Urselle,
Saccharine Trust,
Fluxion,
Bad Manners,
Glambeats Corp.,
The Black Dice,
8 Eyed Spy,
Television,
Radiopuhelimet,
Mission of Burma,
Mark Hollis,
Justin Hinds & The Dominoes,
Visionaries,LMNO, T- Love & Iriscience,
Todd Rundgren,
Rotary Connection,
Brick,
Camberwell Now,
Josef K,
Y Pants,
Strawberry Alarm Clock,
Can,
Soul II Soul,
a-ha,
Cabaret Voltaire,
Bootsy's Rubber Band,
Crispian St. Peters,
Erykah Badu,
X-101,
Fear,
Wasted Youth,
The Smiths,
Pussy Galore,
Jawbox,
The Skatalites,
Crooked Eye,
Sparks,
Jerry Gold Smith,
Lightning Bolt,
The Alarm Clocks,
Radio Birdman,
the Human League,
Pierre Henry,
Pulsallama,
Audionom,
Patti Smith,
The Standells, The Standells, The Standells, The Standells.
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.