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 Kosovo and from Mumbai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Jakarta.
I'm losing my edge to the art-school London 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 guitar sounds with much patience.
I was there when David Bowie 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 Minor Threat to the techno kids.
I played it at the Crocodile.
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 Selector Dub Narcotic. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Main Source,
Tommy Roe,
The Kinks,
Major Organ And The Adding Machine,
Pere Ubu,
The Fall,
Howard Jones,
Model 500,
Electric Light Orchestra,
Public Enemy,
The Star Department,
Robert Hood,
The Leaves,
June of 44,
Black Moon,
R.M.O.,
The Chocolate Watch Band,
Barry Ungar,
The Smiths,
Reagan Youth,
The Cramps,
The Alarm Clocks,
Cluster,
Robert Görl,
The Motions,
Lou Reed,
The J.B.'s,
Aural Exciters,
Neil Young & Crazy Horse,
AZ,
F. McDonald,
Sun City Girls,
Archie Shepp,
The Zeros,
Laurel Aitken,
D'Angelo,
Rakim,
Ornette Coleman,
The Move,
Faraquet,
Los Fastidios,
New Order,
Minny Pops,
Gian Franco Pienzio,
Leonard Cohen,
cv313,
Jerry Gold Smith,
The Residents,
Nas,
Delon & Dalcan,
Morten Harket,
Reuben Wilson,
Lou Reed & John Cale,
Tears for Fears,
Depeche Mode,
Barclay James Harvest,
Boredoms,
Vaughan Mason & Crew,
Buzzcocks,
Tom Boy,
Niagra, Niagra, Niagra, Niagra.
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.