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 Trinidad & Tobago and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Portland and Spokane.
I'm losing my edge to the art-school Tehran 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Slackers to the punk 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 Ash Ra Tempel. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Saccharine Trust 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Barclay James Harvest,
Sun Ra Arkestra,
Joe Smooth,
Gerry Rafferty,
The Moleskins,
Kerrie Biddell,
The Doobie Brothers,
Hardrive,
Roger Hodgson,
Dorothy Ashby,
The Gun Club,
X-101,
Glambeats Corp.,
Deepchord,
John Lydon,
The Mummies,
Moss Icon,
Charles Mingus,
Pierre Henry,
The Associates,
The Grass Roots,
Monks,
Ohio Players,
Organ,
The Blues Magoos,
Banda Bassotti,
Traffic Nightmare,
Negative Approach,
Quantec,
Louis and Bebe Barron,
Adolescents,
Lyres,
The Dead C,
The Litter,
Franke,
FM Einheit,
Soft Machine,
The Toasters,
Half Japanese,
Pantaleimon,
Soft Cell,
Rekid,
The Gladiators,
Sugar Minott,
The United States of America,
Mary Jane Girls,
Yaz,
Oneida,
Camberwell Now,
Ash Ra Tempel,
Bill Wells,
Jimmy McGriff,
Ultra Naté,
Ten City,
Tropical Tobacco,
Fear,
Television Personalities,
Radiohead,
the Fania All-Stars,
Bizarre Inc.,
Kas Product,
The Jesus and Mary Chain,
Gong, Gong, Gong, Gong.
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.