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 Azerbaijan and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and New York.
I'm losing my edge to the art-school Bologna 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Rahsaan Roland Kirk to the rap kids.
I played it at the Troubador.
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 Moss Icon. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
The Slackers,
Interpol,
Howard Jones,
Roxette,
Slave,
the Fania All-Stars,
Robert Wyatt,
Eden Ahbez,
Talk Talk,
U.S. Maple,
Brass Construction,
Technova,
Unrelated Segments,
Lizzy Mercier Descloux,
The Litter,
Siouxsie and the Banshees,
The Fuzztones,
Deadbeat,
Lyres,
Don Cherry,
Blossom Toes,
Sam Rivers,
Simply Red,
Donny Hathaway,
Pierre Henry,
Model 500,
New Age Steppers,
Sparks,
Lou Reed & John Cale,
Pharoah Sanders,
The Gories,
Sight & Sound,
The Last Poets,
The Evens,
Eric B and Rakim,
Clear Light,
The Doobie Brothers,
Vladislav Delay,
Mission of Burma,
Jeff Lynne,
Excepter,
Girls At Our Best!,
Fela Kuti,
Das Ding,
Rotary Connection,
Kerri Chandler,
Ohio Players,
The Velvet Underground,
Throbbing Gristle,
Leonard Cohen,
Wasted Youth,
Captain Beefheart & His Magic Band,
Cheater Slicks,
Lebanon Hanover,
James Chance & The Contortions,
Ultimate Spinach,
Matthew Bourne,
Dr. Dre and Snoop Doggy Dog,
Oneida,
the Sonics,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.