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 Croatia and from Houston.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Milan and Seoul.
I'm losing my edge to the art-school Glasgow 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 In Retrospect to the punk kids.
I played it at the Astoria.
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 Juan Atkins. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Pharaoh Sanders and the Fire Engines,
Byron Stingily,
Index,
David McCallum,
The Doobie Brothers,
The Five Americans,
Slave,
Fat Boys,
Duran Duran,
Fear,
Robert Görl,
Bizarre Inc.,
Crispy Ambulance,
Jimmy McGriff,
Pete Rock & C.L. Smooth,
Kurtis Blow,
Piero Umiliani,
Avey Tare's Slasher Flicks,
Ronnie Foster,
Bill Near,
H. Thieme,
Throbbing Gristle,
Rahsaan Roland Kirk,
Agent Orange,
Kaleidoscope,
Circle Jerks,
The Sonics,
The Pretty Things,
Lou Reed & John Cale,
Terrestrial Tones,
Ultramagnetic MC's,
The Invisible,
Lyres,
Camouflage,
Sparks,
Kool Moe Dee,
Black Flag,
Country Joe & The Fish,
Accadde A,
Agitation Free,
The Monochrome Set,
Country Teasers,
Roxy Music,
Orchestral Manoeuvres in the Dark,
Eve St. Jones,
Radiopuhelimet,
The Angels of Light,
The Vogues,
John Cale,
Boredoms,
Jerry Gold Smith,
Sam Rivers,
Grandmaster Flash,
The Standells,
Make Up,
EPMD,
Neil Young & Crazy Horse,
Nick Fraelich,
Jacques Brel,
Electric Light Orchestra,
Tubeway Army,
the Germs, the Germs, the Germs, the Germs.
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.