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 Colombia and from Mumbai.
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 1972.
I'm losing my edge.
To all the kids in Cairo and Cairo.
I'm losing my edge to the art-school Columbus 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 snare 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 Niagra to the grunge kids.
I played it at Cafe Wha.
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 Fluxion. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Wolf Eyes,
The Last Poets,
Warren Ellis,
Wally Richardson,
Fela Kuti,
Gang Starr,
Severed Heads,
Joe Smooth,
Sarah Menescal,
The Flesh Eaters,
Crooked Eye,
Camouflage,
Quando Quango,
The Smoke,
Pussy Galore,
The Kinks,
The Angels of Light,
Massinfluence,
Joy Division,
Fugazi,
Khruangbin,
Kenny Larkin,
Patti Smith,
The Electric Prunes,
Erasure,
Ronan,
Nas,
Gastr Del Sol,
The Barracudas,
Kool Moe Dee,
Shoche,
Reuben Wilson,
Scratch Acid,
The Mummies,
Andrew Hill,
Visage,
Y Pants,
Niagra,
Alton Ellis,
Judy Mowatt,
The Monochrome Set,
Beasts of Bourbon,
Man Parrish,
Byron Stingily,
New York Dolls,
Arthur Verocai,
David Axelrod,
Derrick May,
LL Cool J,
Tres Demented,
Mr. Review,
Marmalade,
Grauzone,
Pantaleimon,
Tubeway Army,
AZ,
Malaria!,
Franke,
Bill Near,
The Tremeloes,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.