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 Denmark and from Philadelphia.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Sao Paulo.
I'm losing my edge to the art-school Madrid 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 harpsichord 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 Lou Reed & Metallica to the techno 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 the Slits. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Eurythmics 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
The Zeros,
Orchestral Manoeuvres in the Dark,
Unwound,
The Chocolate Watch Band,
Ultra Naté,
Brothers Johnson,
Schoolly D,
Babytalk,
Ornette Coleman,
Red Lorry Yellow Lorry,
Massinfluence,
Gian Franco Pienzio,
Alton Ellis,
Lonnie Liston Smith,
Susan Cadogan,
Quadrant,
Johnny Osbourne,
The Neon Judgement,
Bluetip,
Tom Boy,
Blancmange,
Country Teasers,
Henry Cow,
Nas,
Grey Daturas,
Connie Case,
DJ Style,
Teenage Jesus and the Jerks,
Peter Gordon & Love of Life Orchestra,
Clear Light,
Crispian St. Peters,
Excepter,
Au Pairs,
Depeche Mode,
Masters at Work,
The Men They Couldn't Hang,
Ohio Players,
Das Ding,
The Tremeloes,
Motorama,
Radio Birdman,
The Royal Family And The Poor,
Soul Sonic Force,
Sarah Menescal,
Circle Jerks,
The Beau Brummels,
The Martian,
John Holt,
Funkadelic,
The Sonics,
Arthur Verocai,
CMW,
A Flock of Seagulls,
Sly & The Family Stone,
Aaron Thompson,
Terror Squad Feat. Camron,
Captain Beefheart & His Magic Band,
Albert Ayler,
The Detroit Cobras,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.