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 Bhutan and from Bologna.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Woodstock 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 808 sounds with much patience.
I was there when David Bowie 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 David Axelrod to the rap 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 Roxy Music. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every A Flock of Seagulls 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
Oppenheimer Analysis,
Siglo XX,
X-Ray Spex,
AZ,
Alton Ellis,
The Slackers,
Janne Schatter,
Nick Fraelich,
Drexciya,
Black Sheep,
Monolake,
The Dead C,
Boredoms,
Ronnie Foster,
The Birthday Party,
Nation of Ulysses,
The Raincoats,
Scion,
The Move,
Mars,
Super Lover Cee & Casanova Rud,
Wolf Eyes,
Intrusion,
The Men They Couldn't Hang,
ABBA,
The Toasters,
MC5,
Ornette Coleman,
James Chance & The Contortions,
Fat Boys,
The Fugs,
Sam Rivers,
Marcia Griffiths,
Harry Pussy,
Parry Music,
Negative Approach,
Chris & Cosey,
Radiopuhelimet,
The Zeros,
The Electric Prunes,
Tomorrow,
the Normal,
Skarface,
The Blackbyrds,
Accadde A,
Reuben Wilson,
Joe Finger,
Morten Harket,
Sound Behaviour,
Groovy Waters,
Faraquet,
Dual Sessions,
Teenage Jesus and the Jerks,
Angels of Light & Akron/Family,
Crime,
Technova,
Gang Gang Dance,
The Five Americans,
Boz Scaggs,
Bill Near,
Anakelly, Anakelly, Anakelly, Anakelly.
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.