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 Poland and from Woodstock.
But I was there.
I was there in .
I was there at the first Suicide 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 1964 to 1971.
I'm losing my edge.
To all the kids in Lyon and Stockholm.
I'm losing my edge to the art-school Spokane 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 Lou Reed 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 Dave Clark Five to the grime kids.
I played it at the Troubador.
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 Lizzy Mercier Descloux. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal rap 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 arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Nico,
Nik Kershaw,
The Misunderstood,
Jawbox,
Grandmaster Flash and the Furious Five,
Malaria!,
Roger Hodgson,
KRS-One,
Second Layer,
Rotary Connection,
Lightning Bolt,
Theoretical Girls,
The Kinks,
In Retrospect,
Freddie Wadling,
Bootsy's Rubber Band,
Kaleidoscope,
Tim Buckley,
DeepChord presents Echospace,
The Evens,
a-ha,
Rhythim Is Rhythim,
Babytalk,
Echo & the Bunnymen,
Ultra Naté,
Erasure,
Jesper Dahlbäck,
Bauhaus,
Swell Maps,
Underground Resistance,
Davy DMX,
Johnny Clarke,
Lee Hazlewood,
Glambeats Corp.,
the Swans,
The Alarm Clocks,
Ludus,
Donald Byrd,
The Five Americans,
The Beau Brummels,
Marine Girls,
Gabor Szabo,
Swans,
Con Funk Shun,
Y Pants,
EPMD,
Rhythm & Sound,
Das Ding,
Spoonie Gee,
Howard Jones,
The Martian,
Fugazi,
Crispian St. Peters,
Cecil Taylor,
X-102,
Soft Machine,
Roxette,
Intrusion,
Royal Trux,
Make Up,
The Searchers,
Todd Rundgren,
Boredoms, Boredoms, Boredoms, Boredoms.
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.