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 Kosovo and from New York.
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 1968 to 1970.
I'm losing my edge.
To all the kids in New York and Accra.
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 rhodes 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 The Raincoats to the rap kids.
I played it at Trash.
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 Bill Wells. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every The Dead C record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Flipper,
Major Organ And The Adding Machine,
Desert Stars,
Bad Manners,
Grauzone,
Bobby Byrd,
Wolf Eyes,
Blake Baxter,
June of 44,
Henry Cow,
Alice Coltrane,
Main Source,
The Martian,
Vaughan Mason & Crew,
Rosa Yemen,
Radio Birdman,
Nils Olav,
Intrusion,
Bootsy's Rubber Band,
Grandmaster Flash,
Saccharine Trust,
Pussy Galore,
Jandek,
Babytalk,
Circle Jerks,
Super Lover Cee & Casanova Rud,
Gian Franco Pienzio,
James White and The Blacks,
Swans,
Symarip,
The Zeros,
Richard Hell and the Voidoids,
The Techniques,
Juan Atkins,
Deutsch Amerikanische Freundschaft,
Notorious BIG live in Amsterdam,
James Chance & The Contortions,
Ludus,
Ituana,
Ohio Players,
The Gories,
Oneida,
The Offenders,
Television Personalities,
X-Ray Spex,
Tim Buckley,
The Grass Roots,
The Standells,
The Monochrome Set,
Bill Near,
Sister Nancy,
Minnie Riperton,
Section 25,
Moss Icon,
Delta 5,
Jawbox,
Pharaoh Sanders and the Fire Engines,
Hoover,
Glambeats Corp.,
Tropical Tobacco,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.