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 Cyprus and from Shanghai.
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 Manchester and Stockholm.
I'm losing my edge to the art-school Columbus 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Roger Hodgson to the disco kids.
I played it at CBGB's.
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 Cure. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal jazz 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 arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Neu!,
Bob Dylan,
Alison Limerick,
Brand Nubian,
the Sonics,
Vainqueur,
X-101,
The Doors,
The Fuzztones,
The Standells,
Sarah Menescal,
Scientists,
Roxette,
Darondo,
Groovy Waters,
Aural Exciters,
Tubeway Army,
Henry Cow,
Peter & Gordon,
The West Coast Pop Art Experimental Band,
Newcleus,
Gastr Del Sol,
Glenn Branca,
The Shadows of Knight,
The Black Dice,
Funkadelic,
UT,
Jeru the Damaja,
Skarface,
DJ Style,
Clear Light,
Judy Mowatt,
Byron Stingily,
Minor Threat,
Yusef Lateef,
Gong,
Parry Music,
Radio Birdman,
The Chocolate Watch Band,
the Swans,
The Misunderstood,
Tres Demented,
Graham Central Station,
Lee Hazlewood,
Piero Umiliani,
Girls At Our Best!,
Infiniti,
China Crisis,
Man Parrish,
Pharaoh Sanders and the Fire Engines,
Notorious BIG live in Amsterdam,
Kings Of Tomorrow,
Teenage Jesus and the Jerks,
Kango’s Stein Massive,
Flamin' Groovies,
Organ,
Pussy Galore,
KRS-One,
Rakim,
Q65, Q65, Q65, Q65.
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.