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 Samoa and from Tokyo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Lagos.
I'm losing my edge to the art-school Seoul 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 K-Klass to the electroclash kids.
I played it at Cafe Wha.
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 Prince Buster. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
It's A Beautiful Day,
Kerrie Biddell,
Urselle,
Agent Orange,
The Walker Brothers,
Electric Light Orchestra,
Deutsch Amerikanische Freundschaft,
Wasted Youth,
Bush Tetras,
Scratch Acid,
Lou Reed,
The Kinks,
Organ,
The United States of America,
Avey Tare's Slasher Flicks,
Sam Rivers,
The Gap Band,
The Misunderstood,
Judy Mowatt,
The Tremeloes,
The Leaves,
Nico,
Pet Shop Boys,
the Bar-Kays,
Jesper Dahlback,
Eyeless In Gaza,
Captain Beefheart & His Magic Band,
Traffic Nightmare,
Oneida,
Robert Hood,
Gastr Del Sol,
Zero Boys,
the Sonics,
Lakeside,
Public Image Ltd.,
Ludus,
Shoche,
Scott Walker,
Bobby Hutcherson,
Bang On A Can,
Agitation Free,
Echospace,
Bauhaus,
the Slits,
The Birthday Party,
Magma,
DeepChord presents Echospace,
The Fortunes,
Piero Umiliani,
Rekid,
Y Pants,
Peter Gordon & Love of Life Orchestra,
Ossler,
Jacob Miller,
Kas Product,
Notorious BIG live in Amsterdam,
The Fuzztones,
Warsaw,
Alice Coltrane,
Minor Threat,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.