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 Solomon Islands and from Copenhagen.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Lille.
I'm losing my edge to the art-school Lyon 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Kango’s Stein Massive to the electroclash 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 Notorious BIG live in Amsterdam. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Parry Music 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Rites of Spring,
PIL,
Gabor Szabo,
Deepchord,
Trumans Water,
Panda Bear,
Zapp,
The Dave Clark Five,
June of 44,
Lonnie Liston Smith,
The Walker Brothers,
Con Funk Shun,
The Gories,
Sarah Menescal,
Crispian St. Peters,
The Slackers,
Guru Guru,
James Chance & The Contortions,
Louis and Bebe Barron,
Stiv Bators,
JFA,
Patti Smith,
Deadbeat,
John Lydon,
Index,
Model 500,
Röyhkä ja Rättö ja Lehtisalo,
the Slits,
The Music Machine,
The Cure,
Animal Collective,
Monolake,
Hardrive,
The Busters,
Rod Modell,
Eli Mardock,
Donald Byrd,
Roy Ayers Ubiquity,
The Jesus and Mary Chain,
Warsaw,
Oppenheimer Analysis,
Red Lorry Yellow Lorry,
Echo & the Bunnymen,
Pierre Henry,
Infiniti,
Quantec,
Bob Dylan,
Mary Jane Girls,
The Angels of Light,
Man Eating Sloth,
Chrome,
The Cramps,
Robert Hood,
Dual Sessions,
Yaz,
Terry Callier,
Duran Duran,
Teenage Jesus and the Jerks,
Sun City Girls,
Goldenarms, Goldenarms, Goldenarms, Goldenarms.
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.