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 Micronesia and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Manila and Edmonton.
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 linndrum 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 Banda Bassotti to the crunk 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 The Smiths. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Soft Cell,
The Jesus and Mary Chain,
The Royal Family And The Poor,
Rowland S Howard / Lydia Lunch,
Todd Terry,
The Five Americans,
The Cramps,
Eddi Front,
Flamin' Groovies,
Alphaville,
Piero Umiliani,
Audionom,
Prince Buster,
Connie Case,
Sun Ra Arkestra,
Juan Atkins,
The Evens,
Gong,
Cheater Slicks,
CMW,
Faraquet,
Vainqueur,
Buzzcocks,
Boz Scaggs,
Jeff Lynne,
Panda Bear,
Grauzone,
Marcia Griffiths,
Barry Ungar,
Public Enemy,
a-ha,
48th St. Collective,
Scion,
Brothers Johnson,
Masters at Work,
Visage,
Gary Puckett & The Union Gap,
Louis and Bebe Barron,
Accadde A,
Peter & Gordon,
The Knickerbockers,
Country Joe & The Fish,
Davy DMX,
Unwound,
R.M.O.,
Joensuu 1685,
Maurizio,
Al Stewart,
The Star Department,
Peter and Kerry,
The Grass Roots,
Bobby Womack,
The J.B.'s,
Guru Guru,
the Swans,
Outsiders,
Suburban Knight,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.