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 Singapore and from Tehran.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Manchester.
I'm losing my edge to the art-school Copenhagen 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 Lou Reed 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 Gang of Four to the electroclash kids.
I played it at the Spitz.
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 Masters at Work. All the underground hits.
All The Sonics tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques 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?
Eli Mardock,
The Cramps,
Lebanon Hanover,
Reuben Wilson,
Infiniti,
Roxette,
Rites of Spring,
DJ Style,
The Durutti Column,
Brass Construction,
The Fuzztones,
Kayak,
Chris Corsano,
The Fire Engines,
Eyeless In Gaza,
Erykah Badu,
Maurizio,
the Soft Cell,
Popol Vuh,
Cluster,
D'Angelo,
Bronski Beat,
Metal Thangz,
Bad Manners,
Soft Machine,
Mad Mike,
The Jesus and Mary Chain,
Matthew Halsall,
Scott Walker,
Freddie Wadling,
Lalo Schifrin,
Susan Cadogan,
The Monks,
Kas Product,
Shoche,
Charles Mingus,
Dual Sessions,
X-102,
Isaac Hayes,
Bizarre Inc.,
Laurel Aitken,
Television Personalities,
Anakelly,
T. Rex,
Sandy B,
Aloha Tigers,
Wally Richardson,
Moebius,
Angels of Light & Akron/Family,
Max Romeo,
Royal Trux,
Pussy Galore,
Sällskapet,
Larry & the Blue Notes,
Lalann,
Symarip,
Neu!,
Peter Gordon & Love of Life Orchestra,
Delon & Dalcan,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.