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 Georgia and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1972.
I'm losing my edge.
To all the kids in Seoul and Stockholm.
I'm losing my edge to the art-school New York 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 marimba 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 Thee Headcoats to the dance kids.
I played it at the Crocodile.
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 Barclay James Harvest. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Metal Thangz record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tres Demented,
Notorious Big And Bone Thugs,
Kaleidoscope,
Reuben Wilson,
Saccharine Trust,
Jesper Dahlbäck,
Gong,
The Trojans,
Dual Sessions,
The Evens,
The Electric Prunes,
Albert Ayler,
Sandy B,
Alison Limerick,
The Sisters of Mercy,
Barclay James Harvest,
Glenn Branca,
Howard Jones,
Harry Pussy,
Max Romeo,
Crime,
Black Flag,
Funky Four + One,
Joyce Sims,
Steve Hackett,
Basic Channel,
Toni Rubio,
Red Lorry Yellow Lorry,
The Offenders,
T.S.O.L.,
John Coltrane,
Pet Shop Boys,
Ken Boothe,
Depeche Mode,
Ultravox,
Bronski Beat,
Manfred Mann's Earth Band,
Metal Thangz,
Gerry Rafferty,
China Crisis,
Fela Kuti,
The Fall,
Monolake,
Country Teasers,
Crooked Eye,
Ornette Coleman,
Lizzy Mercier Descloux,
Khruangbin,
The Red Krayola,
Flamin' Groovies,
Scratch Acid,
Dave Gahan,
Animal Collective,
KRS-One,
Peter Gordon & Love of Life Orchestra,
Desert Stars,
The Monochrome Set,
DNA,
Panda Bear,
Nas,
The Names, The Names, The Names, The Names.
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.