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 Mauritania and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1967 to 1978.
I'm losing my edge.
To all the kids in Manchester and Lyon.
I'm losing my edge to the art-school Spokane 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Boogie Down Productions to the techno 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 Crime. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Knickerbockers record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Urselle,
Davy DMX,
The Vogues,
Rhythm & Sound,
Cymande,
The Golliwogs,
World's Most,
Justin Hinds & The Dominoes,
Johnny Osbourne,
48th St. Collective,
Mission of Burma,
The Jesus and Mary Chain,
Gary Puckett & The Union Gap,
Black Flag,
Suburban Knight,
The Young Rascals,
Moss Icon,
cv313,
Crooked Eye,
Eric B and Rakim,
The Move,
Sound Behaviour,
The Fire Engines,
Lungfish,
June of 44,
The United States of America,
The Durutti Column,
Negative Approach,
Unwound,
Ronnie Foster,
Andrew Ashong & Theo Parrish,
Public Enemy,
Marmalade,
Qualms,
Delta 5,
Livin' Joy,
Guru Guru,
John Lydon,
Eden Ahbez,
Scrapy,
Barrington Levy,
Cecil Taylor,
Q65,
Minutemen,
The Sisters of Mercy,
Mo-Dettes,
Hot Snakes,
Boogie Down Productions,
Eyeless In Gaza,
Kayak,
Bobby Sherman,
The Raincoats,
Nils Olav,
Lou Reed & John Cale,
Pere Ubu,
The Smoke,
Scan 7,
The Modern Lovers,
Man Parrish,
Pantytec,
Pylon,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.