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 Palau and from Sao Paulo.
But I was there.
I was there in .
I was there at the first Suicide 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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
I'm losing my edge to the art-school Bremen 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 spring reverb 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 Supertramp to the jazz 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 Desert Stars. All the underground hits.
All Delta 5 tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Marc Romboy vs. Booka Shade,
Nico,
Tomorrow,
Lakeside,
Fifty Foot Hose,
Flipper,
Camouflage,
Super Lover Cee & Casanova Rud,
Dead Boys,
Aswad,
Don Cherry,
The American Breed,
Bobbi Humphrey,
Desert Stars,
The Fortunes,
Deutsch Amerikanische Freundschaft,
Scratch Acid,
Tears for Fears,
Shoche,
Jeru the Damaja,
Black Pus,
The Evens,
Arcadia,
Gil Scott-Heron and Jamie xx,
Aaron Thompson,
Slave,
Magazine,
Ossler,
Tommy Roe,
Bobby Byrd,
Michelle Simonal,
Stockholm Monsters,
Yellowson,
Vladislav Delay,
DNA,
Rosa Yemen,
Al Stewart,
Lucky Dragons,
Television,
Junior Murvin,
Faust,
Kaleidoscope,
Tropical Tobacco,
Isaac Hayes,
The Offenders,
Intrusion,
Dave Gahan,
The Star Department,
Connie Case,
Symarip,
Nick Fraelich,
Au Pairs,
Boredoms,
De La Soul & Jungle Brothers,
Joe Smooth,
The Doors,
Bush Tetras,
Sister Nancy,
Andrew Ashong & Theo Parrish,
KRS-One,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.