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 Kuwait and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Paris and London.
I'm losing my edge to the art-school Tehran 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 Holger Czukay 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 Urselle to the dance kids.
I played it at the Astoria.
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 Amon Düül II. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Move 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?
Lafayette Afro Rock Band,
MDC,
Severed Heads,
Sun Ra,
Yellowson,
Mark Hollis,
Roxette,
John Coltrane,
Thee Headcoats,
Aswad,
Captain Beefheart & His Magic Band,
KRS-One,
Fatback Band,
Soft Machine,
The Motions,
Chris Corsano,
Donny Hathaway,
The Invisible,
the Normal,
James White and The Blacks,
Deepchord,
Brass Construction,
Suicide,
Lalo Schifrin,
The Standells,
Arab on Radar,
World's Most,
Toni Rubio,
Prince Buster,
Byron Stingily,
Stetsasonic,
Bobby Byrd,
Ronan,
Marmalade,
A Flock of Seagulls,
Ponytail,
Warren Ellis,
Glambeats Corp.,
Bang on a Can All-Stars,
Half Japanese,
The Pop Group,
Jesper Dahlbäck,
X-101,
Jerry's Kids,
Ultramagnetic MC's,
The Golliwogs,
Tom Boy,
Lou Reed,
Man Parrish,
Fat Boys,
Peter & Gordon,
Flash Fearless,
Rakim,
Beasts of Bourbon,
The Electric Prunes,
The Slits,
Liaisons Dangereuses,
Public Image Ltd.,
Das Ding,
The Sonics, The Sonics, The Sonics, The Sonics.
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.