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 Indonesia and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1974.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school London 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 spring reverb 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 Severed Heads to the grunge 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 Tim Buckley. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Joy Division 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 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 Sex Pistols record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Camberwell Now,
Flamin' Groovies,
Alice Coltrane,
The Pretty Things,
Sight & Sound,
The Young Rascals,
Schoolly D,
Don Cherry,
David Axelrod,
The West Coast Pop Art Experimental Band,
CMW,
Pole,
Gang of Four,
Graham Central Station,
Teenage Jesus and the Jerks,
James Chance & The Contortions,
Minor Threat,
Eric B and Rakim,
Sugar Minott,
Charles Mingus,
Magma,
Arthur Verocai,
In Retrospect,
Vaughan Mason & Crew,
Electric Prunes,
the Normal,
Cluster,
Urselle,
Deakin,
Siouxsie and the Banshees,
Pete Rock & C.L. Smooth,
Kaleidoscope,
Animal Collective,
New Order,
The Litter,
The Golliwogs,
Brick,
N.O.R.E. Featuring Pharrell,
Ken Boothe,
Interpol,
Gian Franco Pienzio,
Joe Smooth,
Ludus,
DJ Style,
Erasure,
Marine Girls,
The Selecter,
Prince Buster,
K-Klass,
Art Ensemble Of Chicago,
Television,
Pagans,
Basic Channel,
Susan Cadogan,
Suburban Knight,
Talk Talk,
Barry Ungar,
Flipper,
Johnny Clarke,
Harpers Bizarre,
The Searchers,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.