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 Madagascar and from Glasgow.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
I'm losing my edge to the art-school Paris 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 organ 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 Public Image Ltd. to the funk kids.
I played it at the Hacienda.
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 Japan. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Ash Ra Tempel record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Audionom 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?
Radio Birdman,
The Vogues,
Albert Ayler,
Dead Boys,
Fifty Foot Hose,
Sarah Menescal,
FM Einheit,
Qualms,
Ronnie Foster,
Sun Ra Arkestra,
Essential Logic,
JFA,
Louis and Bebe Barron,
Index,
Al Stewart,
Reuben Wilson,
Lower 48,
Dennis Brown,
Carl Craig,
Joensuu 1685,
Kango’s Stein Massive,
Drive Like Jehu,
Eric B and Rakim,
Boredoms,
Flamin' Groovies,
Mr. Review,
Talk Talk,
Main Source,
The Gap Band,
James White and The Blacks,
Sällskapet,
Supertramp,
Dr. Dre and Snoop Doggy Dog,
a-ha,
Quadrant,
The Divine Comedy,
Sad Lovers and Giants,
UT,
the Swans,
Avey Tare's Slasher Flicks,
Dorothy Ashby,
The Wake,
The Men They Couldn't Hang,
Terry Callier,
Das Ding,
Red Lorry Yellow Lorry,
La Düsseldorf,
The Buckinghams,
Absolute Body Control,
Pere Ubu,
Eve St. Jones,
Selector Dub Narcotic,
Severed Heads,
Hardrive,
The Fuzztones,
Sly & The Family Stone,
Dave Gahan,
L. Decosne,
Skarface,
The Stooges, The Stooges, The Stooges, The Stooges.
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.