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 Hungary and from Toronto.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Hong Kong 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 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 Lou Christie to the grunge kids.
I played it at the Roxy.
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 London Community Gospel Choir. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Black Moon 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 '50s 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 Sparks record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
Dark Day,
Yaz,
The Angels of Light,
Dave Gahan,
The Invisible,
Selector Dub Narcotic,
Porter Ricks,
Ice-T,
Art Ensemble Of Chicago,
Can,
Agent Orange,
Procol Harum,
It's A Beautiful Day,
Teenage Jesus and the Jerks,
London Community Gospel Choir,
Easy Going,
Janne Schatter,
Gastr Del Sol,
Blossom Toes,
DJ Style,
PIL,
Das Ding,
Jerry's Kids,
The Blues Magoos,
Alice Coltrane,
Hoover,
Wings,
Malaria!,
Faust,
Pylon,
Severed Heads,
The Skatalites,
The Detroit Cobras,
Tomorrow,
Andrew Hill,
The Fuzztones,
UT,
X-Ray Spex,
The Five Americans,
the Association,
Sun Ra Arkestra,
Harpers Bizarre,
Siglo XX,
Scrapy,
Smog,
Intrusion,
Kauko Röyhkä ja Narttu,
Camberwell Now,
Tubeway Army,
Bluetip,
Scott Walker + Sunn O))),
Marvin Gaye,
Spandau Ballet,
Minutemen,
Brothers Johnson,
Mandrill,
Todd Rundgren,
Shoche,
The Men They Couldn't Hang,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.