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 Armenia and from Manila.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Milan.
I'm losing my edge to the art-school Bologna 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Heavy D & The Boyz to the electroclash 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 Ultra Naté. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
the Association,
Lou Reed & John Cale,
Deutsch Amerikanische Freundschaft,
Art Ensemble Of Chicago,
Spandau Ballet,
Unwound,
the Soft Cell,
Lindisfarne,
the Bar-Kays,
The Saints,
Crispy Ambulance,
Sex Pistols,
Black Pus,
Lou Reed,
The West Coast Pop Art Experimental Band,
The Grass Roots,
Scott Walker,
Idris Muhammad,
Morten Harket,
Lizzy Mercier Descloux,
MC5,
Nico,
Notorious Big And Bone Thugs,
Hasil Adkins,
The Walker Brothers,
Johnny Osbourne,
James Chance & The Contortions,
John Lydon,
Livin' Joy,
The Beau Brummels,
Ash Ra Tempel,
Dark Day,
Black Bananas,
Amon Düül,
Gian Franco Pienzio,
Lightning Bolt,
Peter and Kerry,
The Dave Clark Five,
Funky Four + One,
Ronnie Foster,
Tim Buckley,
The Remains,
ABC,
Scion,
Dual Sessions,
June of 44,
June Days,
Kayak,
Neu!,
The Star Department,
Pantytec,
Sun Ra,
Black Moon,
Dead Boys,
The Victims,
The Durutti Column,
Accadde A,
Skriet,
Camron Feat. Memphis Bleek And Beenie Seigel,
James White and The Blacks,
Pole,
Gil Scott-Heron & Brian Jackson,
Ponytail, Ponytail, Ponytail, Ponytail.
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.