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 Algeria and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Manila and Beijing.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Echo & the Bunnymen to the electroclash kids.
I played it at CBGB's.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Infiniti,
Procol Harum,
Howard Jones,
Zero Boys,
Sex Pistols,
The Gladiators,
Soft Machine,
The Busters,
Lonnie Liston Smith,
10cc,
Lucky Dragons,
John Lydon,
Johnny Osbourne,
Half Japanese,
Spoonie Gee,
Gary Puckett & The Union Gap,
In Retrospect,
Blake Baxter,
Danielle Patucci,
Rhythim Is Rhythim,
Basic Channel,
Buzzcocks,
Jandek,
Orchestral Manoeuvres in the Dark,
Warsaw,
X-Ray Spex,
Steve Hackett,
Ajijia Myrayebe,
It's A Beautiful Day,
Albert Ayler,
Amon Düül,
Spandau Ballet,
The Star Department,
Intrusion,
Kas Product,
Vaughan Mason & Crew,
Outsiders,
Ludus,
Darondo,
Drexciya,
Public Enemy,
EPMD,
Camberwell Now,
Crime,
Man Eating Sloth,
Lalann,
Mr. Review,
Unwound,
Porter Ricks,
Siglo XX,
The Monks,
Drive Like Jehu,
Mad Mike,
Cal Tjader,
Panda Bear,
Bad Manners,
Grey Daturas,
Skarface,
Marshall Jefferson,
The Vogues, The Vogues, The Vogues, The Vogues.
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.