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 Nauru and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Lagos and Calgary.
I'm losing my edge to the art-school New York 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 theremin 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 Cal Tjader to the dance 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 Nils Olav. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Kerri Chandler,
Traffic Nightmare,
Notorious BIG live in Amsterdam,
Louis and Bebe Barron,
DNA,
Boredoms,
Severed Heads,
Girls At Our Best!,
Erasure,
Harpers Bizarre,
Brass Construction,
Kango’s Stein Massive,
Eli Mardock,
The Birthday Party,
Deutsch Amerikanische Freundschaft,
Moss Icon,
Nils Olav,
Kevin Saunderson,
Lalann,
Theoretical Girls,
a-ha,
Bill Near,
the Slits,
Lakeside,
U.S. Maple,
Piero Umiliani,
Moby Grape,
X-102,
Mission of Burma,
Absolute Body Control,
Minor Threat,
Swans,
Danielle Patucci,
Qualms,
Magazine,
The Pop Group,
Barry Ungar,
Soul Sonic Force,
Siouxsie and the Banshees,
Soft Machine,
the Fania All-Stars,
Ultravox,
Crispian St. Peters,
Howard Jones,
Magma,
Judy Mowatt,
Dorothy Ashby,
Funky Four + One,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Chris & Cosey,
Pylon,
Josef K,
Pierre Henry,
The Associates,
Yaz,
Glenn Branca,
Hardrive,
Cal Tjader,
Excepter,
Ultramagnetic MC's,
The Dead C,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.