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 Sweden and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Lyon and Milan.
I'm losing my edge to the art-school Lyon 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 linndrum 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 Pantaleimon to the grunge kids.
I played it at CBGB's.
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 Rakim. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Accadde A 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 '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Stereo Dub,
Mr. Review,
Funkadelic,
Chrome,
Kool G Rap & DJ Polo,
Lalann,
Sun Ra Arkestra,
Ultravox,
Sex Pistols,
Jacob Miller,
Crash Course in Science,
Scratch Acid,
Scan 7,
Rapeman,
Sad Lovers and Giants,
Monks,
London Community Gospel Choir,
John Lydon,
Lindisfarne,
Jeru the Damaja,
James White and The Blacks,
The West Coast Pop Art Experimental Band,
Pussy Galore,
Delon & Dalcan,
The Fugs,
Peter and Kerry,
Neu!,
Gary Puckett & The Union Gap,
Yaz,
The Cure,
Moby Grape,
New York Dolls,
E-Dancer,
Anthony Braxton,
The Moody Blues,
The Shadows of Knight,
Dave Gahan,
Barbara Tucker,
Rekid,
Saccharine Trust,
Jeff Mills,
Boredoms,
Deadbeat,
Cybotron,
The Toasters,
Pharaoh Sanders and the Fire Engines,
Oneida,
The Kinks,
Derrick May,
Carl Craig,
The Leaves,
Roger Hodgson,
The Divine Comedy,
Q65,
Johnny Clarke,
Hardrive,
Visage,
The Sonics,
Gabor Szabo,
The Blackbyrds,
Section 25, Section 25, Section 25, Section 25.
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.