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 Slovakia and from Columbus.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
I'm losing my edge to the art-school Taipei 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 güiro 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 Fortunes to the crunk kids.
I played it at the Hacienda.
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 The Saints. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Can 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 '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Move 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?
Gabor Szabo,
DeepChord presents Echospace,
ABC,
Stockholm Monsters,
Sunsets and Hearts,
Sex Pistols,
Harry Pussy,
Eli Mardock,
Cymande,
Subhumans,
Nils Olav,
Beasts of Bourbon,
The Dirtbombs,
Massinfluence,
CMW,
Drexciya,
The United States of America,
The Busters,
Lebanon Hanover,
Main Source,
Sällskapet,
Pete Rock & C.L. Smooth,
The Black Dice,
De La Soul & Jungle Brothers,
The Mummies,
Sun Ra Arkestra,
Teenage Jesus and the Jerks,
Jeru the Damaja,
Eric Dolphy,
Lee Hazlewood,
Sun Ra,
Barry Ungar,
Ohio Players,
The Happenings,
The Vogues,
The Pretty Things,
Pere Ubu,
T.S.O.L.,
Niagra,
Idris Muhammad,
Khruangbin,
Jeff Mills,
Pagans,
Carl Craig,
Cameo,
The Associates,
Excepter,
FM Einheit,
Boz Scaggs,
Orchestral Manoeuvres in the Dark,
Schoolly D,
Marvin Gaye,
Camberwell Now,
Dual Sessions,
Gil Scott-Heron and Jamie xx,
Jacques Brel,
Essential Logic,
Whodini,
Eurythmics,
Organ,
Amon Düül,
La Düsseldorf,
Siouxsie and the Banshees,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.