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 United Kingdom and from Houston.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school Tehran 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Hardrive to the dance kids.
I played it at the Astoria.
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 Audionom. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lalann record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
These Immortal Souls,
Parry Music,
Derrick Morgan,
Jesper Dahlback,
FM Einheit,
Scientists,
48th St. Collective,
Harry Pussy,
The Sonics,
Interpol,
Jacob Miller,
Harmonia,
Hashim,
Art Ensemble Of Chicago,
Bobbi Humphrey,
Jesper Dahlbäck,
The Fire Engines,
Junior Murvin,
Duran Duran,
X-101,
The Pretty Things,
Tom Boy,
The Chocolate Watch Band,
Robert Wyatt,
Suicide,
Shoche,
Severed Heads,
Juan Atkins,
Glenn Branca,
Babytalk,
Dark Day,
The Moleskins,
Stiv Bators,
Orchestral Manoeuvres in the Dark,
Eric Dolphy,
Jandek,
Todd Terry,
Kaleidoscope,
Stereo Dub,
Red Lorry Yellow Lorry,
Dual Sessions,
Masters at Work,
Bootsy's Rubber Band,
Mars,
The Peanut Butter Conspiracy,
CMW,
D'Angelo,
Funkadelic,
Wire,
The Divine Comedy,
The Flesh Eaters,
A Certain Ratio,
Audionom,
Soft Cell,
Sonic Youth,
Camberwell Now,
Godley & Creme,
Tears for Fears,
Fifty Foot Hose,
Outsiders,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.