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 Tunisia and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television 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 1967 to 1973.
I'm losing my edge.
To all the kids in Seoul and Beijing.
I'm losing my edge to the art-school Mumbai 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 oboe 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 Byron Stingily to the rap kids.
I played it at the 40 Watt.
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 Grandmaster Flash and the Furious Five. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Pole 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
The Remains,
Neu!,
Oppenheimer Analysis,
Traffic Nightmare,
Josef K,
Grauzone,
Stereo Dub,
Inner City,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Sonics,
The Real Kids,
The Gun Club,
Youth Brigade,
Richard Hell and the Voidoids,
Bush Tetras,
Letta Mbulu,
Circle Jerks,
Jimmy McGriff,
Aswad,
Dual Sessions,
Pantytec,
Surgeon,
The Doors,
The Monochrome Set,
Steve Hackett,
Quantec,
Sticky Fingaz feat. Raekwon,
Groovy Waters,
Minnie Riperton,
Eric B and Rakim,
Archie Shepp,
Camberwell Now,
10cc,
Flash Fearless,
Black Moon,
Avey Tare's Slasher Flicks,
Electric Prunes,
Danielle Patucci,
Fear,
Matthew Halsall,
Avey Tare,
Ten City,
The Dirtbombs,
Johnny Osbourne,
Bob Dylan,
The Star Department,
Super Lover Cee & Casanova Rud,
The Victims,
Glenn Branca,
Bauhaus,
Gang Starr,
Robert Görl,
The Gap Band,
Aural Exciters,
Excepter,
The Cosmic Jokers,
Q and Not U,
Davy DMX,
Second Layer,
the Swans,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.