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 Australia and from Glasgow.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Paris and Bologna.
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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Lou Reed & Metallica to the crunk kids.
I played it at the Troubador.
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 The New Christs. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz 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?
The Fugs,
Laurel Aitken,
The Invisible,
B.T. Express,
Delon & Dalcan,
Gabor Szabo,
Loose Ends,
Chris & Cosey,
Gil Scott-Heron & Brian Jackson,
The Zeros,
Graham Central Station,
Judy Mowatt,
The Sisters of Mercy,
Ten City,
The Cramps,
The Mummies,
Sight & Sound,
Big Daddy Kane,
the Normal,
Lightning Bolt,
Black Bananas,
Ken Boothe,
Stockholm Monsters,
The Cure,
Art Ensemble Of Chicago,
Gang Green,
PIL,
Rhythm & Sound,
Roy Ayers,
Tomorrow,
Idris Muhammad,
Scientists,
Sandy B,
Visionaries,LMNO, T- Love & Iriscience,
Crime,
Icehouse,
Panda Bear,
Scratch Acid,
Angels of Light & Akron/Family,
Faust,
Harry Pussy,
The Birthday Party,
These Immortal Souls,
Gerry Rafferty,
Pole,
The Dead C,
Little Man,
Ultimate Spinach,
Matthew Bourne,
Mr. Review,
Sugar Minott,
Marc Romboy vs. Booka Shade,
Eyeless In Gaza,
The Durutti Column,
Lee Hazlewood,
Roy Ayers Ubiquity,
Jacob Miller,
Circle Jerks,
Ituana,
Rhythim Is Rhythim,
Yazoo,
Marvin Gaye,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.