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 Tajikistan and from Beijing.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Shanghai 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 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 The Walker Brothers to the techno kids.
I played it at Trash.
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 PIL. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica 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?
Lakeside,
James White and The Blacks,
Isaac Hayes,
Q65,
Kool Moe Dee,
Maurizio,
Derrick May,
Sad Lovers and Giants,
Quando Quango,
Fluxion,
The Birthday Party,
Lalo Schifrin,
Johnny Clarke,
John Foxx,
Crooked Eye,
Brand Nubian,
Derrick Morgan,
Janne Schatter,
Glenn Branca,
Subhumans,
FM Einheit,
Adolescents,
Cecil Taylor,
Eden Ahbez,
Banda Bassotti,
Maleditus Sound,
Hot Snakes,
The Monks,
Roy Ayers,
Easy Going,
Lou Christie,
Roy Ayers Ubiquity,
Desert Stars,
Man Eating Sloth,
Ohio Players,
The Red Krayola,
Von Mondo,
Moebius,
The Barracudas,
Spandau Ballet,
Dawn Penn,
Alphaville,
Agent Orange,
The Black Dice,
Stereo Dub,
Andrew Ashong & Theo Parrish,
Vladislav Delay,
The Wake,
Bob Dylan,
Jacob Miller,
Ten City,
Flash Fearless,
Jeff Mills,
Massinfluence,
Gil Scott Heron,
Notorious Big And Bone Thugs,
Art Ensemble Of Chicago,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.