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 Stockholm.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Woodstock 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 chamberlin 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 The Doors to the grunge 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 Todd Terry. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal techno 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 organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Quantec,
Accadde A,
Visage,
Amon Düül II,
Rotary Connection,
Mo-Dettes,
Saccharine Trust,
Jesper Dahlback,
Bauhaus,
Notorious BIG live in Amsterdam,
Isaac Hayes,
Pole,
World's Most,
Suicide,
De La Soul & Jungle Brothers,
Liaisons Dangereuses,
AZ,
Juan Atkins,
Sandy B,
Glambeats Corp.,
Bobby Sherman,
Ornette Coleman,
The Associates,
Traffic Nightmare,
The Evens,
Niagra,
Zero Boys,
Cymande,
Howard Jones,
The Saints,
Colin Newman,
Sister Nancy,
James White and The Blacks,
Alphaville,
the Germs,
Marshall Jefferson,
Rowland S Howard / Lydia Lunch,
Stetsasonic,
Swans,
Kaleidoscope,
Inner City,
Lou Christie,
Black Bananas,
Bad Manners,
Toni Rubio,
Thinking Fellers Union Local 282,
One Last Wish,
John Foxx,
Aaron Thompson,
Jawbox,
The Leaves,
Rekid,
Joensuu 1685,
Roger Hodgson,
Ultimate Spinach,
John Lydon,
The Doors,
Patti Smith,
Selector Dub Narcotic,
Maurizio,
Gabor Szabo,
Jerry Gold Smith,
Ronnie Foster,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.