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 Sri Lanka and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Lagos and Edmonton.
I'm losing my edge to the art-school Calgary 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 sitar sounds with much patience.
I was there when Lou Reed 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 Vladislav Delay to the jazz kids.
I played it at the Troubador.
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 Sound Behaviour. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Ituana,
Glambeats Corp.,
the Soft Cell,
Deepchord,
Joyce Sims,
The Dave Clark Five,
Oneida,
Fugazi,
Chris & Cosey,
Depeche Mode,
New York Dolls,
The Gap Band,
Scion,
Toni Rubio,
The Velvet Underground,
The Smiths,
Terry Callier,
The Gories,
Wasted Youth,
Alphaville,
Marshall Jefferson,
Orchestral Manoeuvres in the Dark,
Robert Hood,
Skaos,
Heaven 17,
Infiniti,
Moby Grape,
Siouxsie and the Banshees,
The Searchers,
The West Coast Pop Art Experimental Band,
Skriet,
Richard Hell and the Voidoids,
Deutsch Amerikanische Freundschaft,
Marmalade,
The Skatalites,
Ralphi Rosario,
Teenage Jesus and the Jerks,
The Trojans,
Colin Newman,
Gang Gang Dance,
Fear,
Roger Hodgson,
Archie Shepp,
Gong,
Kurtis Blow,
Bobby Womack,
Sly & The Family Stone,
The Gladiators,
Gary Puckett & The Union Gap,
the Normal,
Patti Smith,
Thee Headcoats,
Altered Images,
Grey Daturas,
H. Thieme,
Quadrant,
Crispy Ambulance,
Gang Green,
Mandrill, Mandrill, Mandrill, Mandrill.
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.