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 Macedonia and from Jakarta.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Woodstock 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 organ 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 Leaves to the punk kids.
I played it at the Spitz.
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 Mission of Burma. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Smog,
Slick Rick,
Major Organ And The Adding Machine,
Kevin Saunderson,
London Community Gospel Choir,
Gregory Isaacs,
The Invisible,
DJ Style,
The Fortunes,
The Names,
Eyeless In Gaza,
Lebanon Hanover,
Simply Red,
The Cosmic Jokers,
Minutemen,
Matthew Bourne,
Archie Shepp,
Cabaret Voltaire,
The Standells,
The Stooges,
Q65,
The Gun Club,
the Slits,
Wire,
Joensuu 1685,
Traffic Nightmare,
Eden Ahbez,
cv313,
Bang on a Can All-Stars,
Sandy B,
The Sonics,
Cybotron,
Rosa Yemen,
Sarah Menescal,
The Knickerbockers,
Freddie Wadling,
Echo & the Bunnymen,
Radio Birdman,
Public Enemy,
Manfred Mann's Earth Band,
Nik Kershaw,
Shuggie Otis,
Shoche,
The Pop Group,
Slave,
Neil Young & Crazy Horse,
Howard Jones,
Wings,
Jandek,
Marshall Jefferson,
Motorama,
Notorious Big And Bone Thugs,
Ronnie Foster,
Röyhkä ja Rättö ja Lehtisalo,
The Martian,
Electric Prunes,
New Age Steppers,
Avey Tare's Slasher Flicks,
Agent Orange,
the Swans,
Lyres, Lyres, Lyres, Lyres.
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.