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 Paraguay and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Seoul 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Carl Craig 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 Ornette Coleman. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal grime 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 organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Barbara Tucker,
Deepchord,
Joe Finger,
Angry Samoans,
8 Eyed Spy,
Notorious Big And Bone Thugs,
The Music Machine,
Byron Stingily,
The Peanut Butter Conspiracy,
Sugar Minott,
Surgeon,
Intrusion,
Shuggie Otis,
Anakelly,
The Moleskins,
Youth Brigade,
Al Stewart,
The Royal Family And The Poor,
Little Man,
The American Breed,
Larry & the Blue Notes,
Ituana,
Essential Logic,
Whodini,
Robert Hood,
Pylon,
The Fortunes,
Jimmy McGriff,
Country Joe & The Fish,
The Velvet Underground,
Fugazi,
The Martian,
Hardrive,
Kenny Larkin,
The Cure,
Television,
The Dave Clark Five,
Eric Copeland,
Model 500,
Outsiders,
The Sound,
Gerry Rafferty,
Oneida,
Rufus Thomas,
Mars,
Fela Kuti,
Donald Byrd,
Kevin Saunderson,
Von Mondo,
Deadbeat,
MC5,
The Residents,
Vaughan Mason & Crew,
Gil Scott Heron,
Shoche,
Roy Ayers,
Curtis Mayfield,
Sonic Youth,
Neu!,
Echo & the Bunnymen,
The Alarm Clocks,
Josef K, Josef K, Josef K, Josef K.
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.