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 South Africa and from Cairo.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Spokane and Madrid.
I'm losing my edge to the art-school Mexico City 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Doors to the punk 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 Sly & The Family Stone. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
X-102,
Lou Reed & Metallica,
Barclay James Harvest,
Eden Ahbez,
Scratch Acid,
Black Bananas,
Curtis Mayfield,
Funky Four + One,
Bobbi Humphrey,
The Velvet Underground,
Sparks,
Faraquet,
Robert Wyatt,
Hardrive,
Radio Birdman,
Magazine,
The Toasters,
Rapeman,
Lee Hazlewood,
Grandmaster Flash and the Furious Five,
The Gories,
Quadrant,
The Electric Prunes,
Spandau Ballet,
Arab on Radar,
Ludus,
The Alarm Clocks,
Albert Ayler,
Bizarre Inc.,
The Neon Judgement,
Delta 5,
Lou Reed & John Cale,
Surgeon,
Shuggie Otis,
The Gun Club,
Warren Ellis,
The Golliwogs,
The Invisible,
Lyres,
The Victims,
The Star Department,
Jesper Dahlbäck,
Piero Umiliani,
Tommy Roe,
John Holt,
the Soft Cell,
The Red Krayola,
Toni Rubio,
Ice-T,
Section 25,
De La Soul & Jungle Brothers,
Intrusion,
Derrick May,
Electric Prunes,
David McCallum,
Colin Newman,
Pierre Henry,
Fat Boys,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.