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 Albania and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Copenhagen and Lille.
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 theremin 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 Con Funk Shun to the electroclash kids.
I played it at the Roxy.
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 Jawbox. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal crunk 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Eric Copeland,
Talk Talk,
Sixth Finger,
Massinfluence,
Warren Ellis,
Rufus Thomas,
Accadde A,
Black Moon,
Visage,
The J.B.'s,
The New Christs,
Flamin' Groovies,
UT,
Jandek,
Donny Hathaway,
Bobbi Humphrey,
Lou Reed & Metallica,
Ultravox,
Thompson Twins,
Smog,
Deakin,
U.S. Maple,
The Smoke,
Wally Richardson,
Fela Kuti,
Gil Scott-Heron and Jamie xx,
Pharoah Sanders,
Siouxsie and the Banshees,
Public Image Ltd.,
Faraquet,
Malaria!,
Strawberry Alarm Clock,
Ludus,
The Neon Judgement,
Sonny Sharrock,
Fifty Foot Hose,
Max Romeo,
The Alarm Clocks,
Main Source,
The Fortunes,
Saccharine Trust,
Big Daddy Kane,
The Durutti Column,
Camberwell Now,
Grauzone,
Fugazi,
The Music Machine,
The Toasters,
Ultimate Spinach,
Organ,
Whodini,
Liliput,
Harry Pussy,
Von Mondo,
This Heat,
MC5,
The Residents,
Eric Dolphy,
Nik Kershaw,
Silicon Teens,
Royal Trux,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.