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 United Kingdom and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1970.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Lille 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 harpsichord 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 Half Japanese to the jazz kids.
I played it at the Crocodile.
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 Man Parrish. All the underground hits.
All Crime tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
the Bar-Kays,
Brick,
Flipper,
The Doobie Brothers,
Ultramagnetic MC's,
Joe Finger,
Jawbox,
Barrington Levy,
Sticky Fingaz feat. Raekwon,
The Cowsills,
The Fuzztones,
Kool Moe Dee,
Electric Prunes,
Zero Boys,
Captain Beefheart & His Magic Band,
Ludus,
Reuben Wilson,
The Gladiators,
The New Christs,
Delta 5,
The Mojo Men,
The Blues Magoos,
Barclay James Harvest,
Eric B and Rakim,
Swans,
Pagans,
Interpol,
Schoolly D,
Dr. Dre and Snoop Doggy Dog,
Magazine,
Nick Cave & The Bad Seeds,
Ronan,
Echo & the Bunnymen,
The Royal Family And The Poor,
Easy Going,
Can,
Minny Pops,
kango's stein massive,
the Fania All-Stars,
The Standells,
Howard Jones,
Youth Brigade,
Masters at Work,
Colin Newman,
Eve St. Jones,
The Smiths,
The Pop Group,
Gong,
Yusef Lateef,
Spandau Ballet,
The Tremeloes,
The Dave Clark Five,
Michelle Simonal,
Fear,
Electric Light Orchestra,
Tom Boy,
Ash Ra Tempel,
B.T. Express,
Warren Ellis,
X-102,
The Knickerbockers,
Faraquet, Faraquet, Faraquet, Faraquet.
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.