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 Saudi Arabia and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Taipei.
I'm losing my edge to the art-school Stockholm 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Flesh Eaters to the grunge kids.
I played it at the Astoria.
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 Scott Walker. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal grime 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 a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Surgeon,
Anthony Braxton,
Bill Wells,
OOIOO,
Eric Copeland,
Thee Headcoats,
Sunsets and Hearts,
Man Parrish,
Kerrie Biddell,
Andrew Hill,
Sad Lovers and Giants,
Moby Grape,
The Trojans,
Kango’s Stein Massive,
Piero Umiliani,
Cameo,
The Electric Prunes,
Monks,
Lightning Bolt,
Major Organ And The Adding Machine,
Babytalk,
Shuggie Otis,
ABC,
Fluxion,
New York Dolls,
Malaria!,
Trumans Water,
DJ Sneak,
The West Coast Pop Art Experimental Band,
the Germs,
a-ha,
The Modern Lovers,
Funky Four + One,
Accadde A,
Aswad,
New Age Steppers,
Warren Ellis,
The Chocolate Watch Band,
ABBA,
The Doobie Brothers,
The Flesh Eaters,
Kerri Chandler,
The Remains,
The Gun Club,
Matthew Halsall,
Parry Music,
B.T. Express,
Eurythmics,
Röyhkä ja Rättö ja Lehtisalo,
Sex Pistols,
Spoonie Gee,
Deakin,
Fad Gadget,
John Coltrane,
Joe Smooth,
Sticky Fingaz feat. Raekwon,
Lebanon Hanover,
It's A Beautiful Day,
Todd Rundgren,
MDC,
KRS-One,
Newcleus,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.