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 Kuwait and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1975.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Bremen 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Ponytail to the rock 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 Mandrill. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal techno 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 a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
The Flesh Eaters,
The Walker Brothers,
Nick Cave & The Bad Seeds,
Bauhaus,
Minutemen,
Motorama,
Bang on a Can All-Stars,
Siouxsie and the Banshees,
The Zeros,
Vainqueur,
Pere Ubu,
Lower 48,
Ajijia Myrayebe,
The West Coast Pop Art Experimental Band,
Sixth Finger,
Television,
Matthew Halsall,
The Detroit Cobras,
Quando Quango,
D'Angelo,
Country Joe & The Fish,
Easy Going,
Moss Icon,
The Fire Engines,
Stetsasonic,
Rhythim Is Rhythim,
London Community Gospel Choir,
Rahsaan Roland Kirk,
John Holt,
The Monochrome Set,
Maurizio,
The Associates,
Whodini,
Oneida,
Avey Tare & Kría Brekkan,
Black Flag,
The Invisible,
Crispian St. Peters,
Gerry Rafferty,
Soulsonic Force,
The Royal Family And The Poor,
Das Ding,
Scion,
Rapeman,
Quadrant,
DNA,
Anthony Braxton,
The Electric Prunes,
Carl Craig,
Derrick May,
The Grass Roots,
Louis and Bebe Barron,
Avey Tare,
Lee Hazlewood,
Nirvana,
Crime,
Black Bananas,
Public Image Ltd.,
Absolute Body Control,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.