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 Costa Rica and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1973.
I'm losing my edge.
To all the kids in Paris and Lyon.
I'm losing my edge to the art-school Calgary 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 oboe 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 The Fuzztones to the techno kids.
I played it at the Astoria.
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 Los Fastidios. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Faraquet 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
The Young Rascals,
Fluxion,
The Pop Group,
Eric Copeland,
Brand Nubian,
The Standells,
Roy Ayers Ubiquity,
The Moody Blues,
Niagra,
La Düsseldorf,
Moby Grape,
DJ Style,
De La Soul & Jungle Brothers,
The Smiths,
Aloha Tigers,
Rapeman,
Procol Harum,
The Wake,
These Immortal Souls,
Fela Kuti,
The Angels of Light,
Make Up,
DeepChord presents Echospace,
Terry Callier,
Susan Cadogan,
DNA,
Teenage Jesus and the Jerks,
Cal Tjader,
Lonnie Liston Smith,
Ronan,
John Cale,
Funkadelic,
Matthew Halsall,
Youth Brigade,
Patti Smith,
Cheater Slicks,
Symarip,
Jacques Brel,
The Names,
Hot Snakes,
The Black Dice,
Unrelated Segments,
The Fugs,
Wally Richardson,
Accadde A,
Lou Reed,
Larry & the Blue Notes,
Siouxsie and the Banshees,
Panda Bear,
The J.B.'s,
Second Layer,
Arab on Radar,
Yellowson,
Bizarre Inc.,
Black Sheep,
Deadbeat,
Pantaleimon,
Suburban Knight,
Bluetip,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.