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 Albania and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Toronto and Salvador.
I'm losing my edge to the art-school London 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 theremin 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 The Real Kids to the rap 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 Unrelated Segments. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every kango's stein massive 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Marshall Jefferson,
The Smiths,
Babytalk,
Roy Ayers Ubiquity,
Minor Threat,
Johnny Osbourne,
The Count Five,
Supertramp,
Eddi Front,
The Toasters,
ABBA,
Gil Scott-Heron and Jamie xx,
Electric Light Orchestra,
kango's stein massive,
Kas Product,
Interpol,
Reuben Wilson,
The Blues Magoos,
Ultravox,
The Cosmic Jokers,
Girls At Our Best!,
The Offenders,
The Monochrome Set,
Richard Hell and the Voidoids,
Bush Tetras,
Theoretical Girls,
Minutemen,
Tubeway Army,
X-102,
Dead Boys,
The Mighty Diamonds,
Pulsallama,
The Buckinghams,
Wighnomy Brothers & Robag Wruhme,
The Moody Blues,
Sparks,
Loose Ends,
Chrome,
The Dave Clark Five,
Nirvana,
Royal Trux,
Silicon Teens,
Hot Snakes,
The Walker Brothers,
The Dead C,
Stetsasonic,
Rotary Connection,
Bauhaus,
Crash Course in Science,
Black Moon,
Thee Headcoats,
Lou Reed & Metallica,
48th St. Collective,
Cal Tjader,
Symarip,
Cheater Slicks,
Sly & The Family Stone,
Sam Rivers,
X-101,
Pantaleimon,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.